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SHAKESPEARE 

and 

Precious  Stoh^s 

By 

Geo.Fbederick  KUNZ 

Ph.D.,SgX>. 

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SHAKESPEARE  AND 
PRECIOUS  STONES 


By  GEORGE  FREDERICK  KUNZ.  Ph.D.,  A.M..  D.Sc. 

THE  CURIOUS  LORE  OF 
PRECIOUS  STONES 

Being  a  description  of  their  sentiments  and  folklore,  super- 
stitions, symbolism,  mysticism,  use  in  protection,  preven- 
tion, religion  and  divination,  crystal  gazing,  birth-stones, 
lucky  stones  and  talismans,  astral,  zodiacal,  and  planetary. 

THE  MAGIC  OF  JEWELS 
AND  CHARMS 

Magic  jewels  and  electric  gems ;  meteorites  or  celestial 
stones  ;  stones  of  healing ;  fabulous  stones  ;  concretions 
and  fossils  ;  snake  stones  and  bezoars  ;  charms  of  ancient 
and  modem  times  ;  facts  and  fancies  about  precious  stones. 

EACH:  Profusely  illustrated  in  color,  doubletone 
and  line.  Octavo.  Handsome  cloth  binding,  gilt 
top,  in  a  box.    $6.00  net.    Carriage  charges  extra. 

SHAKESPEARE  AND 
PRECIOUS  STONES 

Treating  of  the  known  references  to  precious  stones  in 
Shakespeare's  works,  with  comments  as  to  the  origin  of 
his  material,  the  knowledge  of  the  poet  concerning  pre- 
cious stones,  and  references  as  to  where  the  precious 
stones  of  his  time  came  from. 

Four  illustrations.   Square  Octavo.   Decorated  cloth.     $1.26  net. 


Mr.  WI  LLIAM 

SHAKESPEARES 

COMEDIES, 

HISTORIES,    & 
TRAGEDIES. 


Publilhed  accordin;;  to  the  Tr'ur  Oriuiriall  Copies 


L  0  .%-D  0  .'X_ 
Printed  by  llaac  laggard,  and  Ed.  Blount.    \6i^- 


WILLIAM  SHAKESPEARE 

Engraved  by  Martin  Droeshout  for  the  First  Folio  of  1623,  wherein  the 
plays  were  first  assembled.  Reproduced  from  a  copy  of  this  Folio  owned  by 
the  New  York  Public  Library.     The  original  measures  7|  x  13  in.,  or  20  x  33  cm. 


SHAKESPEARE 

and 

PRECIOUS  STONES 

Treating  of 
The  Known  References  of  Precious  Stones  in 
Shakefpeare's  Works,  with  Comments  as  to  the 
Origin  of  his  Material,  the  Knowledge  of  the  Poet 
Concerning  Precious  Stojies,  and  References  as  to 
Where  the  Precious  Stones  of  his  Time  came  from 
The  Author 

GEORGE  FREDERICK  KUNZ 
Ph.D.,  Sc.D.,  A.m. 

Honorary  Prefident  of  the  Shakefpeare  Garden 
Committee  of  New  York  City;  Vice  Prefident 
of  the  Permanent  Shakefpeare  Birthday  Com- 
mittee of  the  City  of  New  York;  Member  of 
the  Executive  Committee  of  the  New  York  City 
Tercentenary  Celebration;  Member  of  the  Mayor's 
Shakefpeare  Celebration  Committee  of  New  York 

WITH  ILLUSTRATIONS 


PHILADELPHIA   &  LONDON 

IMPRINTED  BY 

J.  B.  LIPPINCOTT  COMPANY 

At    the   Washington    Square    Press 

Upon  the  Tercentenary  of  Shakefpeare 

1916 


COPYRIGHT,  I916,  BY    J.  B.  LIPPINCOTT    COMPANY 


PUBLISHED    JULY,     I916 


TO  RUBY, 
MY  DAUGHTER, 

WHOSE  MOTHER.  SOPHIA  HANDFORTH. 
WAS  BORN  IN  THE  LAND  OF 

SHAKESPEARE, 

AND 

TO  RUBY'S  DAUGHTER, 

GRETEL 

(THE  PEARL), 
THIS  VOLUME  IS  LOVINGLY  DEDICATED 


343551 


FOREWORD 

AS  no  writer  has  made  a  more  beautiful  and 
/\  telling  use  of  precious  stones  in  his  verse 
than  did  Shakespeare,  the  author  believed  that 
if  these  references  could  be  gathered  together 
for  comparison  and  for  quotation,  and  if  this 
were  done  from  authentic  and  early  editions  of 
the  great  dramatist-poet's  works,  it  would  give 
the  literary  and  historical  student  a  better  under- 
standing as  to  what  gems  were  used  in  Shake- 
speare's time,  and  in  what  terms  he  referred  to 
them.  This  has  been  done  here,  and  comparisons 
are  made  with  the  precious  stones  of  the  present 
time,  showing  what  mines  were  known  and  gems 
were  worn  in  Shakespeare's  day,  and  also  some- 
thing of  those  that  were  not  known  then,  but  are 
known  at  this  time. 

The  reader  is  also  provided  with  a  few  impor- 
tant data  serving  to  show  what  could  have  been 
the  sources  of  the  poet's  knowledge  regarding 
precious  stones  and  whence  were  derived  those 
which  he  may  have  seen  or  of  which  he  may  have 

7 


Foreword 

heard.  As  in  this  period  the  beauty  of  a  jewel 
depended  as  much,  or  more,  upon  the  elaborate 
setting  as  upon  the  purity  and  brilliancy  of  the 
gems,  the  author  has  given  some  information 
regarding  the  leading  goldsmith-jewellers,  both 
English  and  French,  of  Shakespeare's  age.  Thus 
the  reader  will  find,  besides  the  very  full  refer- 
ences to  the  poet's  words  and  clear  directions  as 
to  where  all  the  passages  can  be  located  in  the 
First  Folio  of  1623,  much  material  that  will  stim- 
ulate an  interest  in  the  subject  and  promote 
further  independent  research. 

The  author  wishes  to  express  his  thanks  to 
Dr.  Appleton  Morgan,  President  of  the  Shake- 
speare Society  of  New  York;  Miss  H.  C.  Bartlett, 
the  Shakespearean  bibliophile;  the  New  York 
Public  Library  and  H.  M.  Leydenberg,  assistant 
there;  Gardner  C.  Teall;  Frederic  W.  Erb,  as- 
sistant librarian  of  Columbia  University;  the 
Council  of  the  Grolier  Club,  Miss  Ruth  S. 
Granniss,  librarian  of  the  Club,  and  Vechten 
Waring,  all  of  New  York  City. 

G.  F.  K. 

New  York 
April,  1916 


CONTENTS 


PAGE 


Shakespeare  and  Precious  Stones 15 

Precious    Stones    Mentioned   in   the   Plays   of 
Shakespeare 73 

Precious   Stones    Mentioned   in   the   Poems  of 

Shakespeare 91 


ILLUSTRATIONS 

PAGE 

William    Shakespeare     (Engraved    by    Martin 
Droeshout) Frontispiece 

Five    of  the   Six   Authentic    Shakespeare    Sig- 
natures       44 

Diamond  Cutter's  Shop,  Eighteenth  Century.  .     58 

From  a  Portrait  of  Queen  Elizabeth 60 

Printer's  Mark  of  Richard  Field 102 


SHAKESPEARE  AND  PRECIOUS 
STONES 


SHAKESPEARE 
AND  PRECIOUS  STONES 

SO  wide  is  the  range  of  the  immortal  verse  of 
Shakespeare,  and  so  many  and  various  are 
the  subjects  he  touched  upon  and  adorned  with 
the  magic  beauty  of  his  poetic  imagery,  that  it 
will  be  of  great  interest  to  refer  to  the  allusions 
to  gems  and  precious  stones  in  his  plays  and 
poems.  These  allusions  are  all  given  in  the  latter 
part  of  this  volume.  What  can  we  learn  from 
them  of  Shakespeare's  knowledge  of  the  source, 
quality,  and  use  of  these  precious  stones .? 

The  great  favor  that  pearls  enjoyed  in  the 
sixteenth  and  seventeenth  centuries  is,  as  we  see, 
reflected  by  the  frequency  with  which  he  speaks 
of  them,  and  the  different  passages  reveal  in 
several  instances  a  knowledge  of  the  ancient 
tales  of  their  formation  and  principal  source. 
Thus,  in  Troilus  and  Cressida  (Act  i,  sc.  i)  he 
writes:  "Her  bed  Is  India;  there  she  lies,  a 
pearl;"  and  Pliny's  tales  of  the  pearl's  origin 
from  dew  are  glanced  at  indirectly  when  he  says: 

The  liquid  drops  of  tears  that  you  have  shed 
Shall  come  again,   transform'd  to  orient  pearl. 

Richard  III,  Act  iv,  sc.  4. 
First  Folio,  "Histories,"  p.  198,  col.  A,  line  17. 
IS 


Shakespeare  and  Precious  Stones 

This  is  undoubtedly  the  reason  for  the  com- 
parison between  pearls  and  tears,  leading  to  the 
German  proverb,  '"''Perlen  hedeuten  Tranen^* 
(Pearls  mean  tears),  which  was  then  taken  to  sig- 
nify that  pearls  portended  tears,  Instead  of  that 
they  were  the  offspring  of  drops  of  liquid. 
The  world-famed  pearl  of  Cleopatra,  which  she 
drank  after  dissolving  it,  so  as  to  win  her  wager 
with  Antony  that  she  would  entertain  him  with 
a  banquet  costing  a  certain  Immense  sum  of 
money.  Is  not  even  noticed,  however.  In  Shake- 
speare's Antony  and  Cleopatra.  In  the  poet's 
time  pearls  were  not  only  worn  as  jewels,  but 
were  extensively  used  in  embroidering  rich  gar- 
ments and  upholstery  and  for  the  adornment  of 
harnesses.  To  this  Shakespeare  alludes  in  the 
following  passages : 

The  intertissued  robe  of  gold  and  pearl. 

Henry  F,  Act  iv,  sc.  i. 
First  Folio,"  Histories,"  p.  85  (page  number  repeated), 

col.  B,  line  13. 

Their  harness  studded  all  with  gold   and  pearl. 

Taming  of  the  Shrew,  Introd.,  sc.  2. 
"Comedies,"  p.  209,  col.  B,  line  33. 

Fine  linen,  Turkey  cushions  boss'd  with  pearl. 

Ibid.,  Act  ii,  sc.  I. 
"Comedies,"  p.  217,  col.  B,  line  32. 
16 


Shakespeare  and  Precious  Stones 

Laced  with  silver,  set  with  pearls. 

Much  Ado  About  Nothing,  Act  iii,  sc.  4. 
"Comedies,"  p.  112,  col.  B,  line  65. 

Moreover,  we  have  a  simile  which  might  almost 
make  us  suppose  that  Shakespeare  knew  some- 
thing of  the  details  of  the  pearl  fisheries,  when 
the  oysters  are  piled  up  on  shore  and  allowed 
to  decompose,  so  as  to  render  it  easier  to  get  at 
the  pearls,  for  he  makes  one  of  his  characters 
say,  speaking  of  an  honest  man  in  a  poor  dwell- 
ing, that  he  was  like  a  "pearl  in  your  foul 
oyster."     {As  You  Like  It,  Act  v,  sc.  4.) 

In  the  strange  transformation  told  of  in  Ariefs 
song,  the  bones  of  the  drowned  man  have  been 
turned  to  coral,  and  his  eyes  to  pearls  {Tempesty 
Act  i,  sc.  2).  The  strange  and  sometimes  mor- 
bid attraction  of  opposites  finds  expression  in  a 
queer  old  English  proverbial  saying  given  in  the 
Two  Gentlemen  of  Verona:  "Black  men  are 
pearls  in  beauteous  ladies'  eyes."  The  likeness 
to  drops  of  dew  appears  where  we  read  of  the  dew 
that  it  was  "  Decking  with  liquid  pearl  the  bladed 
grass"  {Midsummer  Night's  Dream,  Act  i,  sc.  i), 
and  a  little  later  in  the  same  play  we  read  the 
following  injunction: 

I  most  go  seek  some  dewdrops  here 

And   hang  a  pearl   in  every  cowslip's   ear. 

Midsummer  Night's  Dream,  Act  ii,  sc.  i. 
First  Folio,  "Comedies,"  p.  148,  col.  A,  hne  38. 
2  17 


Shakespeare  and  Precious  Stones 

And  later  still  we  have  the  lines: 

That  same  dew,  which  sometime  on  the  buds 
Was  wont  to  swell  like  round  and  orient  pearls. 

Midsummer  Night's  Dream,  Act  iv,  so.  I. 
"Comedies,"  p.  157,  col.  B,  line  10. 

The  pearl  as  a  simile  for  great  and  transcendent 

value,  perhaps  suggested  by  the  Pearl  of  Great 

Price  of  the  Gospel,  is  used  of  Helen  of  Greece 

in  the  lines  (Troilus  and  Cressiddy  Act  il,  sc.  2): 

She  is  a  pearl 
Whose  price  hath  launch'd  above  a  thousand  ships. 
At  end  of  "Histories,"  page  unnumbered 
(p.  596  of  facsimile),  Col.  A,  line  19. 

This  being  an  allusion  to  the  Greek  fleet  sent 
out  under  Agamemnon  and  Menelaus  to  bring 
back  the  truant  wife  from  Troy.  The  idea  of  a 
supremely  valuable  pearl  Is  also  apparent  in  the 
lines  embraced  in  Othello's  last  words  before 
his  self-immolation  as  an  expiation  of  the  mur- 
der of  Desdemona,  where  he  says  of  himself:^ 

Whose  hand 
Like  the  base  Indian,  threw  a  pearl    away 
Richer  than  all  his  tribe. 

Othello,  Act  V,  sc.  2. 
"Tragedies,"  p.  338,  col.  B,  line  53. 

^  For  a  Venetian  tale  that  may  have  suggested  these  lines 
to  Shakespeare,  see  the  present  writer's  "The  Magic  of 
Jewels  and  Charms,"  Philadelphia  and  London,  1915, 
p.  393.  The  text  of  the  First  Folio  gives  "  ludean," 
instead  of  "Indian." 

18 


Shakespeare  and  Precious  Stones 

Although  the  term  "Orient  pearl"  is  that 
used  by  Shakespeare,  and  undoubtedly  many  of 
the  older  pearls  of  his  day  were  really  of  Cin- 
ghalese  or  Persian  origin,  the  principal  source  of 
supply  was  then  the  Panama  fishery  discovered 
by  the  Spaniards  about  a  century  earlier  and 
actively  exploited  by  them.^  However,  through 
the  old  inventories  made  by  experts  familiar 
with  the  real  sources  of  precious  stones  and 
pearls — though  not  always  correctly  with  those 
of  the  latter — the  term  "Orient  pearl"  came 
in  time  to  denote  one  of  fine  hue,  so  that  the 
"orient"  of  a  pearl  is  still  spoken  of  as  signi- 
fying a  sheen  of  the  first  quality. 

Many  fine  pearls  of  the  fresh-water  variety, 
not  the  marine  pearls,  were  found  in  the  Scotch 
rivers.  It  was  these  that  are  mentioned  as  hav- 
ing been  obtained  by  Julius  Csesar  to  ornament 
a  buckler  which  he  dedicated  to  the  shrine 
of  the  Temple  of  Venus  Genetrix.  It  was  also 
this  type  of  pearl  that  was  so  eagerly  sought  by 
the  late  Queen  Victoria  when  she  visited  Scot- 
land.   Many  of  these  pearls  exist  in  old,  espe- 

2  On  the  pearls  brought  to  Europe  from  both  North  and 
South  America  in  Shakespeare's  time,  see  the  writer's 
"Gems  and  Precious  Stones  of  North  America,"  New 
York,  1890,  pp.  240-257;  2d.  ed.,  1892. 

19 


Shakespeare  and  Precious  Stones 

daily  in  ecclesiastical  jewelry,  and  several  are 
in  the  Ashburnham  missal  now  in  the  J.  Pierpont 
Morgan  library .^ 

Of  the  glowing  ruby  Shakespeare  seems  to 
have  known  little,  since  he  uses  its  name  only  in 
the  conventional  way  to  signify  a  bright  or  choice 
shade  of  red.  In  Measure  for  Measure  (Act  ii, 
sc.  4)  the  "impression  of  keen  whips"  produced 
ruby  streaks  on  the  skin;  even  more  material- 
istic is  the  nose  "all  o'er  embellished  with 
rubies,  carbuncles  and  sapphires"  {Comedy  of 
Errors  J  Act  iii,  sc.  2).  The  common  employment 
of  the  designation  carbuncle  for  a  precious  stone 
and  also  for  a  boil  was  usual  from  ancient  times. 
At  least,  we  might  gather  from  this  passage  that 
the  poet  was  aware  of  the  distinction  between 
ruby  and  carbuncle  (pyrope  garnet).  Rubies 
as  "fairy  favors"  is  a  dainty  mention  in  the  fairy 
drama  Midsummer  Night^s  Dream  (Act  ii,  sc.  i). 
Caesar's  wounds  "ope  their  ruby  lips"  {Julius 
Ccesar,  Act  iii,  sc.  i).  Macbeth  speaks  of  the 
"natural  ruby  of  your  cheeks,"  in  addressing  his 
wife  at  the  apparition  of  Banquo's  ghost;  with  her 
this  is  unchanged,  while  with  him  terror  or  remorse 

« See  "The  Book  of  the  Pearl,"  by  George  Frederick 
Kunz  and  Charles  Hugh  Stevenson,  New  York,  1908, 
colored  plate  opposite  p.  16. 


Shakespeare  and  Precious  Stones 

has  blanched  it  {Macbeth,  Act  iii,  sc.  4).  Lastly, 
the  term  "ruby  lips,"  so  often  used  by  poets, 
is  employed  by  Shakespeare  with  consummate 
art  in  Cymbeline  (Act  ii,  sc.  2)  where  he  writes: 

But  kiss ;  one  kiss !    Rubies  unparagon'd, 
How  dearly  they  do't. 
First  Folio,  "Tragedies,"  p.  376,  col.  B,  line  18. 

The  "rubies"  of  the  poet's  time  were  fre- 
quently ruby  spinels,  or  the  so-called  "balas 
rubies"  from  Badakshan,  in  Afghan  Turkestan. 
The  most  noted  one  in  the  England  of  that  period 
was  probably  the  one  said  to  have  been  given 
to  Edward  the  Black  Prince  by  Pedro  the  Cruel 
of  Castile,  after  the  battle  of  Najera,  in  1367, 
and  now  the  most  prized  adornment  of  the 
English  Crown,  excepting  the  great  historic  dia- 
mond, the  Koh-i-nur.  The  immense  Star  of 
South  Africa,  weighing  531  metric  carats,  five 
times  the  weight  of  the  Koh-i-nur,  is  intrinsi- 
cally worth  much  more,  but  lacks  the  manifold 
dramatic  and  historic  associations  of  its  Indian 
sister. 

Strange  to  say,  the  beautiful  sapphire  is  only 
twice  named  by  Shakespeare,  once  as  an  adjunct 
to  the  pearl  in  embroidery  {Merry  Wives  of 
Windsor,  Act  v,  sc.  5).  The  single  mention  of 
chrysolite  is  much  more  impressive: 


Shakespeare  and  Precious  Stones 

If  heaven  would  make  me  such  another  world, 
Of  one  entire  and  perfect  chrysolite! 

Othello,  Act  V,  sc,  2. 
"Tragedies,"  p.  337,  col.  A,  line  5. 

Chrysolite  (peridot,  or  olivine)  was  regarded 
in  Shakespeare's  time  and  earlier  as  of  excep- 
tional rarity.  The  fine  peridots  of  the  Chapel 
of  the  Three  Kings  in  Cologne  Cathedral  were 
believed  to  be  emeralds  of  extraordinary  size  and 
were  once  valued  at  ^15,000,000,  although  they 
are  really  worth  barely  ^100,000;  some  of  them 
are  more  than  an  inch  in  diameter.  Whence  they 
came  is  uncertain,  but  it  is  probable  that  they 
were  brought  from  the  East  at  some  time  during 
the  Crusades.  Indeed  the  origin  of  the  fine 
peridots  of  the  Middle  Ages  is  shrouded  in  mys- 
tery; they  are,  however,  believed  to  have  been 
found  in  one  or  more  of  the  islands  in  the  Red 
Sea.  In  our  day  a  number  of  specimens  have 
been  discovered  on  the  small  island  of  St.  John  in 
that  sea;  the  deposit  here  is  a  jealously-guarded 
monopoly  of  the  Egyptian  Government.  Peri- 
dots have  also  been  found  at  Spyrget  Island,  in 
the  Arabian  Gulf.  The  most  remarkable  source 
of  gem-material  of  this  stone  is  meteoric,  a  few 
gems  weighing  as  much  as  a  carat  each  having 
been   cut  out  of  some  yellowish-green  peridot 


Shakespeare  and  Precious  Stones 

obtained  by  the  writer  from  the  meteoric  iron  of 
Glorieta  Mountain,  New  Mexico. 

That  a  turquoise,  presumably  set  in  a  ring, 
was  given  to  Shylock  by  Leah  before  their 
marriage,  perhaps  at  their  betrothal,  is  all  that 
Shakespeare  has  found  occasion  to  write  of  this 
pretty  stone,  one  of  the  earliest  used  for  adorn- 
ment in  the  world's  history,  as  the  great  mines  of 
Nishapur,  in  Persia,  and  those  of  the  Sinai 
Peninsula  were  worked  at  a  very  early  time,  the 
latter  by  the  Egyptians  as  far  back  as  4000  B.C. 
With  the  opal,  the  poet  has  seized  upon  its  most 
characteristic  quality,  its  changeableness  of  hue, 
where  he  says  in  Twelfth  Night  (Act  ii,  sc.  4): 
"Thy  mind  is  a  very  opal." 

A  luminous  ring  is  poetically  described  in  one 
of  Shakespeare's  earliest  plays,  Titus  Andron- 
tVwj,  written  in  or  about  1590.  The  lines  refer- 
ring to  the  ring  are  highly  expressive.  After  the 
murder  of  Bassianus,  Martins  searches  in  the 
depths  of  a  dark  pit  for  the  dead  body,  and  sud- 
denly cries  out  to  his  companion  Quintus  that  he 
has  discovered  the  bloody  corpse.  As  the  interior 
of  the  pit  is  pitch  dark,  Quintus  can  scarcely  be- 
lieve what  he  hears,  and  he  asks  Martins  how  the 
latter  could  possibly  see  what  he  has  described. 
The  answer  is  given  in  the  following  lines: 

23 


Shakespeare  and  Precious  Stones 

Upon  his  bloody  finger  he  doth  wear 

A  precious  ring,  that  lightens  all  the  hole, 

Which,  like  a  taper  in  some  monument, 

Doth  shine  upon  the  dead  man's  earthy  cheeks, 

And  shows  the  ragged  entrails  of  the  pit. 

Titus  Andronicus,  Act  ii,  sc.  3. 
First  Folio,  "Tragedies,"  p.  38,  col.  B,  lines  53-57. 

This  certainly  was  suggested  by  the  common 
belief  in  naturally  luminous  stones,  a  belief  partly 
due  to  a  superstitious  explanation  of  the  ruddy 
brilliancy  of  rubies  and  garnets  as  resulting  from 
a  hidden  fire  in  the  stone,  and  partly,  perhaps,  to 
the  occasional  observation  of  the  phenomena  of 
phosphorescence  or  fluorescence  in  certain  pre- 
cious stones. 

It  will  have  been  seen  that  the  text  of  Shake- 
speare's plays  gives  no  evidence  tending  to  show 
any  greater  familiarity  with  precious  stones  than 
could  be  gathered  from  the  poetry  of  his  day, 
and  from  his  intercourse  with  classical  scholars, 
such  as  Francis  Bacon,  Ben  Jonson,  and  others 
of  those  who  formed  the  unique  assemblage  wont 
to  meet  together  at  the  old  Mermaid  Tavern  in 
London.  That  a  diamond  could  cost  2000  ducats 
(^5000),  a  very  large  sum  in  Shakespeare's 
time,  is  noted  in  one  of  his  earliest  plays,  the 
Merchant  of  Venice  (Act  iii,  sc.  i),  and  the 
following  injunction  emphasizes  the  great  value 
of  a  fine  diamond: 

24 


Shakespeare  and  Precious  Stones 

Set  this  diamond  safe 
In  golden  palaces,   as  it  becomes. 

/  Henry  /'/,  Act  v,  sc.3. 
"Histories,"  p.  116,  col.  B,  line  54. 

In  Pericles  we  read  (Act  iii,  sc.  2) : 

The  diamonds  of  a  most  praised  water 
Do  appear,  to  make  the  world  twice  rich. 
Third   Folio,    1664,   p.   7,   col.   B,  line  38; 

separate  pagination. 

In  Shakespeare's  time  but  few  of  the  world's 
great  diamonds  were  in  Europe,  though  two,  at 
least,  were  in  his  native  country.  All  of  them 
must  have  been  of  East  Indian  origin,  as  this 
was  before  the  discovery  of  the  Brazilian  mines 
(1728).  In  1547,  Henry  VIII  of  England  bought 
of  the  Fuggers  of  Augsburg — ^the  great  money- 
lending  bankers  and  jewel  setters,  or  royal 
pawnbrokers,  who  generally  sold  or  forced  some 
jewels  upon  those  who  obtained  a  loan — the 
jew^l  of  Charles  the  Bold,  called  the  "Three 
Brethren,"  from  three  large  balas-rubies  with 
which  it  was  set;  the  central  ornament  was  a 
"great  pointed  diamond";  of  its  weight  nothing 
is  known.  This  jewel  was  lost  by  Duke  Charles 
on  the  field  of  Granson,  March  2,  1476,  where  it 
was  secured  by  the  Swiss  victors;  it  was  event- 
ually bought  by  the  Fuggers.  The  other  fine 
English  diamond  was  that  known  as  the  Sancy, 

25 


Shakespeare  and  Precious  Stones 

weighing  53^  carats  (55.23  metric  carats),  ac- 
quired by  James  I  from  Nicholas  Harley  de 
Sancy,  in  1604,  for  500,000  crowns.  This  is  also 
stated  to  have  belonged  to  Charles  the  Bold. 
In  1657  it  was  redeemed  by  Cardinal  Mazarin, 
after  having  been  pledged  for  a  loan  by  Queen 
Henrietta  Maria,  and  at  Mazarin's  death,  in 
1661,  was  bequeathed,  with  his  other  diamonds, 
to  the  French  Crown.  After  passing  through 
many  vicissitudes,  it  has  recently  come  into  the 
possession  of  Baron  Astor  of  Hever  (William 
Waldorf  Astor). 

There  is  a  possibility  that  the  Florentine  dia- 
mond of  I33ff  carats  (137.27  metric  carats) 
was  already  owned  by  the  grand-ducal  house  of 
Tuscany  before  Shakespeare's  death,  but  the 
earliest  notice  of  it  appears  to  be  that  given  by 
Fermental,  a  French  traveller,  who  saw  it  in 
Florence  in  1630.  The  other  great  diamonds  of 
former  days  are  of  more  recent  date.  The  Regent 
of  136%  carats  (140.64  metric  carats),  found  in 
India  about  1700,  was  acquired  by  the  Duke  of 
Orleans  in  1717;  the  Orloff  (194^  old  carats  = 
199.73  metric  carats)  was  bought  by  Prince 
Orloff  for  Catherine  II,  in  1775,  for  1,400,000 
Dutch  florins,  or  about  ^560,000.  The  famous 
Koh-i-nur,  weighing  186^  carats  (191. 1  metric 

26 


Shakespeare  and  Precious  Stones 

carats)  in  Its  old  cutting,  came  to  Europe,  as  a 
gift  to  Queen  Victoria  from  the  East  India 
Company,  only  in  1850;'  although,  if  it  be  the 
same  as  the  great  diamond  taken  by  Humayun, 
son  of  Baber,  at  the  battle  of  Paniput,  April 
21,  1526,  its  history  dates  back  at  least  to  1304, 
when  Sultan  Ala-ed-Din  took  it  from  the  Sultan 
of  Malva,  whose  family  had  already  owned  it 
for  generations. 

As  fresh-colored  lips  are  likened  to  rubies,  so 
it  is  said  of  a  bright  eye,  that  it  "would  emulate 
the  diamond"  {Merry  Wives  of  Windsor,  Act 
iii,  sc.  3). 

Bright  eyes  are  also  compared  to  rock-crystal, 
and  the  setting  of  other  gems  within  a  bordering 
of  crystals  is  evidently  alluded  to  in  the  follow- 
ing lines  from  Lovers  Labour^s  Lost  (Act  ii,  sc.  i): 

Methought  all  his  senses  were  lock'd  in  his  eyes 
As  jewels  in  crystal. 

First  Folio,  "Comedies,"  p.  128,  col.  A,  line  7. 

We  have  in  Richard  II  (Act  i,  sc.  i)  the  terms 
"fair  and  crystal"  applied  to  a  clear  sky,  and 
in  Romeo  and  Juliet  (Act  i,  sc.  2)  the  word  Is 
used  to  denote  superlative  excellence,  where  a 
lady's  love  is  to  be  weighed  against  her  rival  on 
"crystal  scales." 

Rock-crystal  was  much  more  highly  valued  In 

27 


Shakespeare  and  Precious  Stones 

the  England  of  Elizabeth  and  of  James  I  than 
it  is  to-day,  and  was  freely  used  as  an  adjunct  to 
more  precious  material,  and  still  was  employed 
to  some  extent  in  the  adornment  of  book-covers, 
although  this  usage,  so  common  in  mediaeval 
times,  was  fast  passing  away. 

In  Shakespeare's  poems,  "Venus  and  Adonis" 
(1593)  ^^'^  "Lucrece"  (1594),  as  well  as  in  his 
"Sonnets"  (1609),  in  the  "Lover's  Com- 
plaint" and  in  the  almost  certainly  spurious 
"Passionate  Pilgrim,"  containing  two  sonnets 
and  three  poems  from  Lovers  Labour^ s  Lost,  and 
which  has  been  included  in  most  collections  of 
his  works,  there  are  perhaps  relatively  more 
frequent  mentions  of  precious  stones  than  in  the 
plays,  a  few  of  them  being  of  special  interest. 
Where  we  have  twice  "ruby  lips"  (and  once 
"coral  lips")  in  the  plays,  the  poems  speak 
thrice  of  "coral  lips"  or  a  "coral  mouth ";^  a 
belt  has  "coral  clasps"  ("Passionate  Pilgrim," 
1.  366).  This  belt  bears  also  "amber  studs,"  and 
in  the  "Lover's  Complaint,"  1.  37,  are  "favours  of 
amber,"  and  also  of  "crystal,  and  of  beaded  jet." 

Coming  to  the  really  precious  stones,  sapphire 
finds  a  single  mention,  also  in  the  "  Lover's  Com- 

^  "Venus  and  Adonis,"  1.  542;  "Lucrece,"  1.  420;  Sonnet 

CXXX,  1.  2. 

28 


Shakespeare  and  Precious  Stones 

plaint,"  1.  215,  where  it  is  termed  "heaven-hued." 
The  same  poem  says  of  the  diamond  that  it  was 
"beautiful  and  hard"  (1.  211),  thus  symbolizing 
a  heartless  beauty.  More  interesting  are  the 
following  lines  regarding  the  emerald  (213,  214): 

The  deep-green  emerald,  in  whose  fresh  regard 
Weak  sights  their  sickly  radiance  do  amend. 

This  proves  the  poet's  familiarity  with  the 
idea  that  gazing  on  an  emerald  benefited  weak 
sight,  an  idea  expressed  as  far  back  as  300  B.C.  by 
Theophrastus,  a  pupil  of  Aristotle,  and  repeated 
by  the  Roman  Pliny  in  75  a.d.  The  "Lover's 
Complaint"  furnishes  another  pretty  line  (198) 
contrasting  the  different  beauties  of  rubies  and 
pearls: 

Of  paled  pearls  and  rubies  red  as  blood. 

In  "Venus  and  Adonis,"  honey-tongued 
Shakespeare  writes  of  a  "ruby-colored  portal." 

Pearls  are  noted  six  times,  usually  as  similes 
for  tears,  and  tears  are  likened  to  "pearls  in 
glass"  ("Venus  and  Adonis,"  1.  980).  A  tender 
Hne  is  that  in  the  "Passionate  Pilgrim"  (hardly 
from  Shakespeare's  hand,  however): 

Bright  orient  pearl,   alack,   too  timely   shaded. 

More  varied  are  the  allusions  to  rock-crystal 
or  crystal,  as  the  poet  calls  it.     In  one  place 

29 


Shakespeare  and  Precious  Stones 

("Venus  and  Adonis,"  1.  491)  there  are  "crystal 
tears,"  and  these  form  "a  crystal  tide"  that  flows 
down  the  cheeks  and  drops  in  the  bosom  {Idem, 
1-  957)-  Oi^  the  other  hand,  the  eyes  are  likened 
to  this  stone,  as  in  "crystal  eyne"  ("Venus  and 
Adonis,"  1.  633),  or  "crystal  eyes"  (Sonnet 
xlvi,  1.  6).  There  are  also  "crystal  favours,"^  a 
"crystal  gate,"^  and  "crystal  walls,"^  the  two 
characteristics  of  brilliancy  and  transparency 
suggesting  these  uses  of  the  term. 

The  emeralds  of  Shakespeare's  age  had  been 
brought  from  Peru  by  the  Spaniards  and  had 
originally  come  from  Colombian  mines,  such  as 
those  at  Muzo,  which  are  still  worked  in  our  day. 
The  location  of  some  of  the  early  deposits  here 
appears  to  have  been  lost  sight  of  since  the 
Spanish  Conquest.  The  emeralds  of  Greek  and 
Roman  times,  and  of  the  Middle  Ages,  came 
from  Mount  Zabara  (Gebel  Zabara),  near  the 
Red  Sea  coast,  east  of  Assuan,  where  traces  of 
the  old  workings  were  found  in  18 17;  these 
mines  were  reopened  by  order  of  Mehemet  All, 
and  were  worked  for  a  brief  period  by  Mons. 
F.  Cailliaud. 

s  "Lover's  Complaint,"  1.  37. 
6  "Idem,"  1.  286. 
^  "Lucrece,"  1.  125 1. 

30 


Shakespeare  and  Precious  Stones 

There  can  be  no  doubt  that  Shakespeare  must 
have  seen  many  fine  jewels  and  ghttering  gems 
in  pageants  and  processions  during  his  residence 
in  London.  On  certain  special  occasions  the 
players  were  summoned  to  assist  at  royal  func- 
tions, provision  being  made  by  the  royal  treasury 
for  rich  materials  to  be  used  in  making  special 
doublets  and  mantles  for  wear  on  these  occasions. 
It  has  been  suggested  that  the  rich  jewelling  of 
many  of  the  court  portraits  by  Holbein  and 
others  must  have  impressed  the  poet  by  their 
wealth  of  color  spread  before  his  eyes;  but  it  is 
nowise  sure  that  he  ever  had  special  opportunity 
to  closely  examine  such  portraits,  the  smaller 
details  of  which  may  not  have  interested  him 
greatly. 

While  it  is  not  unlikely  that  some  of  the  royal 
or  noble  ladies  who  attended  the  performances 
of  Shakespeare's  plays,  while  he  was  connected 
with  the  Globe  Theatre,  wore  brilliant  jewels, 
it  is  improbable  that  they  were  bedecked  with 
the  most  valuable  of  their  gems.  The  danger  of 
being  waylaid  and  robbed  was  much  greater  in 
those  days  than  it  is  to-day,  and  it  was  probably 
only  within  palace  or  castle  doors,  or  at  some 
great  State  function,  that  the  costliest  jewels  were 
worn.    Hence  nothing  distantly  approaching  the 

31 


Shakespeare  and  Precious  Stones 

rather  excessive  splendor  of  a  New  York  or 
London  opera  night  could  ever  have  dazzled  the 
poet-actor's  eyes. 

In  the  case  of  plays  acted  before  the  court, 
however,  the  royal  and  noble  ladies,  undoubtedly, 
wore  many  of  their  finest  jewels,  as  did  also  the 
sovereign  and  courtiers.  Still,  preoccupied  as 
Shakespeare  must  have  been  with  the  presenta- 
tion, or  representation  of  the  dramatic  perform- 
ance, he  probably  had  little  time  or  inclination 
to  devote  especial  attention  to  these  jewels. 

No  museum  collections,  properly  so  called, 
existed  in  Shakespeare's  day,  from  which  he 
could  have  acquired  any  closer  knowledge  of 
precious  stones  or  gems,  although  the  conception 
of  a  great  modern  museum  of  art  and  science 
found  expression  in  the  "New  Atlantis."  of  his 
great  contemporary.  Lord  Bacon.  The  modest 
beginnings  of  the  Royal  Society  of  London, 
founded  in  1662,  cannot  be  traced  back  beyond 
1645.  The  French  Academy  of  Sciences,  founded 
in  1666,  was  preceded  by  earlier  informal  meet- 
ings of  French  scientists,  to  which  allusion  is  even 
made  by  Lord  Bacon,  who  died  in  1626.  The 
Berlin  Academy  came  much  later,  in  1700,  and 
the  St.  Petersburg  Academy  was  first  established 
in    1725   by   Catherine   I,   widow  of  Peter  the 

32 


Shakespeare  and  Precious  Stones 

Great.  One  society,  the  Academla  Secretorum 
Naturae  of  Naples,  goes  back  to  1560,  and  the 
Accademia  dei  Lincei  of  Prince  Federico  Cesi 
was  founded  at  Rome  In  1603.  But  of  these 
Shakespeare  could  have  known  little  or  nothing. 

That  the  poet  knew,  more  or  less  vaguely,  of 
America  as  a  source  of  precious  stones,  as  were 
the  Indies,  comes  out  in  the  farcical  lines  from 
The  Comedy  of  Errors  (Act  HI,  sc.  2),  when  one  of 
the  Dromios,  in  locating  the  various  lands  of  the 
world  on  parts  of  his  mistress's  body,  to  the  query 
of  Antlpholus:  "Where  America,  the  Indies.?" 
replies:  "Oh,  sir,  upon  her  nose,  all  o'er  embel- 
lished with  rubles,  carbuncles,  sapphires."  This 
is  the  only  mention  of  America  in  the  plays. 

A  coincidence  having  Its  own  significance  is 
that  April  23,  the  day  of  Shakespeare's  death 
and  also  his  birthday,  was  the  day  dedicated  to 
St.  George,  the  patron  saint  of  Merry  England. 
The  war-cry  of  England  Is  given  several  times 
by  Shakespeare,  as,  for  example: 

Cry,  God  for  Harry,  England  and  Saint  George! 

Henry  F,  Act  iii,  sc.  i. 
First  Folio,  "Histories,"  p.  "jy,  col.  B,  line  51. 
God  and  Saint  George!  Richmond  and  Victory! 

Richard  III,  Act  v,  sc.  3. 
First  Folio,  "Histories,"  p.  203,  col.  A,  line  31. 
3  33 


Shakespeare  and  Precious  Stones 

And  in  /  Henry  VI  (Act  i,  sc.  i)  we  read: 

Bonfires  In  France  forthwith  I  am  to  make, 
To  keep  our  great  Saint  George's  feast  withal. 

First  Folio,  "Histories,"  p.  97,  col.  B,  line  97. 

We  find  no  trace  in  Shakespeare's  works  of 
any  belief  in  the  many  quaint  and  curious  super- 
stitions current  in  his  day  regarding  the  talis- 
manic  or  curative  virtues  of  precious  stones. 
This  is  quite  in  keeping  with  the  thoroughly  sane 
outlook  upon  life  that  constituted  the  strong 
foundation  of  his  incomparable  mind.  Not  but 
that,  like  every  true  poet,  the  sense  of  mystery, 
and  even  the  vague  impression  of  the  existence 
of  occult  powers,  of  the  "Unknowable"  in 
Nature,  was  strongly  developed,  but  this  is  al- 
ways in  a  broad  and  earnest  spirit,  far  removed 
from  all  petty  superstition. 

Margaret  of  Anjou,  wife  of  Henry  VI,  sacri- 
ficed her  heart  and  diamond  jewel,  as  a  symbol 
of  her  sorrow  and  her  love,  when  a  tempest  beat 
back  the  ship  that  was  bearing  her  from  the 
continent  to  the  English  coast.  Her  act,  as 
described  in  the  following  verses,  seems  almost 
an  attempt  to  propitiate  the  storm  (//  Henry 
VI,  Act  iii,  sc.  2) : 

When  from  thy  shore  the  tempest  beat  us  back, 
I  stood  upon  the  hatches  In  the  storm, 

34 


Shakespeare  and  Precious  Stones 

And  when  the  dusky  sky  began  to  rob 

My  earnest-gaping  sight  of  thy  land's  view, 

I  took  a  costly  jewel  from  my  neck, 

A  heart  it  was,  bound  in  with  diamonds. 

And  threw  it  towards  thy  land:    the  sea  received  it. 

And  so  I  wish'd  thy  body  might  my  heart. 

First  Folio,  "Histories,"  p.  134,  col.  A,  lines  41-48. 

The  idea  of  the  sacredness  of  a  ring  as  a  love- 
token  is  voiced  by  Portia  in  Shakespeare's 
Merchant  of  Venice  where  she  says  (Act  v,  sc.  i): 

I  gave  my  love  a  ring  and  made  him  swear 
Never  to  part  with  it;  and  here  he  stands; 
I  dare  be  sworn  for  him  he  would  not  leave  it 
Nor  pluck  it  from  his  finger,  for  the  wealth 
That  the  world  masters. 
First  Folio,  "Comedies,"  p.  183,  col.  B,  lines  12-16. 

The  nearest  approach  to  a  sentimental  char- 
acterization of  precious  stones  is  to  be  found 
in  "A  Lover's  Complaint,"  lines  204-217. 
Although  we  have  already  noted  most  of  them 
separately,  it  may  be  well  to  give  the  entire 
passage  here  consecutively: 

And,  lo,  behold  these  talents  of  their  hair. 
With  twisted  metal  amorously  impleach'd, 
I  have  received  from  many  a  several  fair, 
Their  kind  acceptance  weepingly  beseech'd 
With  the  annexions  of  fair  gems  enrich'd. 
And  deep-brain'd  sonnets  that  did  amplify 
Each  stone's  dear  nature,  worth,  and  quality. 

35 


Shakespeare  and  Precious  Stones 

The  diamond,  — why,  'twas  beautiful  and  hard, 
Whereto  his  invised^  properties  did  tend; 
The  deep-green  emerald,  in  whose  fresh  regard 
Weak  sights  their  sickly  radiance  do  amend; 
The  heaven-hued  sapphire  and  the  opal  blend 
With  objects  manifold:    each  several  stone, 
With  wit  well  blazon'd,  smiled  or  made  some  moan. 

Had  Shakespeare  felt  much  interest  in  the 
lore  of  gems,  he  had  before  him  most  of  the  then 
available  material  in  a  book  of  which  he  seems 
to  have  made  some  use.^  This  was  an  English 
rendering  of  the  "De  Proprietatibus  Rerum" 
of  Bartholomasus  Anglicus  (fl.  ca.  1350),  by 
Stephan  Batman,  or  Bateman  (d.  1587),  an 
English  divine  and  poet,  who  in  the  later  years 
of  his  life  was  chaplain  and  librarian  to  the 
famous  Archbishop  Parker,  and  thus  had  free 
access  to  the  latter's  fine  library.  His  rendering, 
published  in  1582,  bears  the  following  quaint 
title:  "Batman  uppon  Bartholome  his  Book 
De  Proprietatibus  Rerum";  it  was  published  in 
1582,  and  appears  to  have  been  widely  read  in 

^  Rare  word,  only  known  in  this  passage.  Century 
Dictionary  gives  "invisible,"  "unseen,"  "uninspected," 
noting  that  some  commentators  suggest  "inspected," 
"tried,"  "investigated." 

9  See  H.  R.  D.  Anders,  "Shakespeare's  Books,"  Berlin, 
1904,  pp.  238-248,  and  the  New  Shakespeare  Soc.  Trans., 
1877-79,  PP-  436  sqq. 

36 


Shakespeare  and  Precious  Stones 

England  among  those  still  interested  in  the 
learning  of  the  scholastic  period.  A  much  earlier 
English  version,  made  by  John  of  Trevisa  in 
1396,  was  published  by  Wynkyn  de  Worde  in 
1495,  and  is  considered  to  be  the  finest  produc- 
tion of  his  press. 1" 

A  rarely  noted  source  for  some  of  Shake- 
speare's knowledge  regarding  curious  customs  has 
been  sought  in  the  rambling  treatise  on  heraldry 
written  by  Gerard  Legh  and  issued,  in  1564, 
under  the  title:  "Accedens  of  Armorie"  (ap- 
proximately, Introduction  to  Heraldry).  This 
is  cast  in  the  form  of  a  dialogue  between  Gerard 
the  Herehaught  (Herold)  and  the  Caligat  Knight, 
the  latter  term  designating  an  Inferior  kind  of 
knight  with  no  claim  to  nobility;  indeed,  an  old 
writer  renders  it  "a  souldlor  on  foot."  The 
writer  manages  to  weave  in  much  material 
slightly  or  not  at  all  connected  with  his  main 
theme.  Legh  was  the  son  of  a  Fleet  Street 
draper.  He  seems  to  have  stu-dled  a  variety  of 
subjects  and  gathered  together  many  scraps  of 
curious  information.  He  died  of  the  plague, 
October  13,  1563.    His  book  went  through  sev- 

^°In  the  author's  library  is  a  fourteenth  century  MS.  of 
the  "De  Proprietatibus  Rerum,"  which  belonged  to  the 
Carthusian  Monastery  of  the  Holy  Trinity,  at  Dijon. 

37 


Shakespeare  and  Precious  Stones 

eral  editions  during  Shakespeare's  lifetime.  Fol- 
lowing the  first  edition  of  1562  came  successive 
ones  in  1576,  1591,  1597,  and  one  bearing  the 
imprint  of  J.  Jaggard  in  1616.  The  author  is 
believed  to  have  been  intentionally  obscure  in 
his  treatment  of  heraldic  questions  lest  he  might 
earn  the  ill-will  of  the  College  of  Arms  by  violat- 
ing certain  of  their  privileges. 

While  both  Shakespeare  and  his  great  con- 
temporary Cervantes  died  on  April  23  of  the 
year  1616,  it  strangely  happens  that  Cervantes 
had  been  dead  ten  days  when  Shakespeare 
expired.  This  apparent  paradox  is  due  to  the 
fact  that  while  in  Spain  the  Gregorian  calendar 
had  already  been  introduced,  the  "Old  Style," 
or  Julian  reckoning,  was  still  used  in  England; 
indeed,  it  was  not  totally  abandoned  until  1752, 
in  the  reign  of  George  II,  170  years  after  the 
first  use  of  the  Gregorian  reckoning  on  the  Con- 
tinent. In  the  seventeenth  century  the  error  to 
be  corrected  amounted  to  ten  days,  so  that 
Shakespeare's  death,  under  the  New  Style, 
occurred  on  May  3,  while  Cervantes  died  on 
April  13  of  the  Old  Style. 

In  commemoration  of  the  Tercentenary  of 
Shakespeare's  death,  the  Shakespearean  scholar, 
Miss  H.  C.  Bartlett,  prepared  for  the  New  York 

38 


Shakespeare  and  Precious  Stones 

Public  Library  an  exhibition  of  Shakespearean 
books,  including  all  the  early  editions  of  the  quar- 
tos; the  various  editions  of  the  folios;  the  works 
of  contemporaneous  authors  whom  Shakespeare 
had  consulted ;  and  also  the  early  works  that  men- 
tion Shakespeare,  or  cite  from  his  plays  or  poems, 
including  Greene's  "Groat's  Worth  of  Wit," 
published  in  1592  by  Henry  Chettle  and  con- 
taining the  earliest  printed  allusion  to  Shake- 
speare under  the  name  of  "Shake-scene." 

One  of  the  contemporary  books  containing 
citations  from  Shakespeare's  works,  shown  at 
the  New  York  Public  Library,  is  "The  Woman 
Hater,"  by  Francis  Beaumont  (?i 585-161 5  or 
1616),  printed  in  1607."  The  citation,  from 
Hamlet,  Act  i,  sc.  5,^^  is  apropos  of  the  disap- 
pearance of  a  "fish  head."  It  is  put  into  the 
mouths  of  two  of  the  characters,  as  follows : 

Lazarello.     Speak,  I  am  bound  to  hear. 

Count.  So  art  thou  to  revenge  when  thou  shalt  hear. 

In  the  spacious  hall  of  the  beautiful  Hispanic 
Museum  in  New  York  City  there  has  recently 
been  displayed,  in  commemoration  of  the  ter- 

^^  "The  Woman  Hater,  as  it  hath  beene  lately  acted  by 
the  children  of  Paules,  London,  printed  and  to  be  sold  by 
John  Hodgers  in  Paules  Church-yard,  1607." 

^2  First  Folio,  p.  257,  col.  B,  lines  15,  16. 

39 


Shakespeare  and  Precious  Stones 

centenary  of  Cervantes's  death,  an  exceptionally 
fine  collection  of  editions  of  his  works  and  of 
rare  plates  illustrating  episodes  from  them. 
Notable  among  the  books  was  a  first  edition  of 
his  earliest  published  poems,  four  redondlllas,  a 
copla  and  an  elegy,  on  the  death,  October  3, 1568, 
of  Elizabeth  de  Valois,  third  wife  of  Philip  II,  and 
sister  of  Charles  IX  of  France.^^  Dark  rumors 
were  afloat  for  some  time  that  she  had  been  poi- 
soned by  order  of  her  husband.  Among  the  other 
treasures  in  the  Hispanic  Museum  exhibition 
was  the  earliest  imprint  of  Cervantes's  master- 
piece, the  immortal  "Don  Quixote."  This  was 
printed  In  Madrid,  in  1605,  by  Juan  de  la  Cuesta. 
A  rather  attractive  bit  of  verse,  purporting 
to  have  been  written  by  Shakespeare  and  dedi- 
cated to  the  woman  who  became  his  wife  in  1582, 
when  he  was  but  eighteen  years  old  (she  was 
eight  years  his  senior),  alludes  in  its  third  stanza 

^^  The  compilation  containing  these  poems  is  entitled: 
"Hystoria  y  relacio  verdadera  de  la  enfermedad  felicissimo 
transito  y  sumptuosas  exequias  funebres  de  la  Serenissima 
Reyna  de  Espana  Isabel  de  Valoys  nuestra  Seiiora," 
Madrid,  1569.    The  opening  lines  of  Cervantes  are: 

A  quien  yra  mi  doloroso  canto 
O  en  cuya  oreja  sonara  su  acento? 
(To  whom  will  my  sad  song  go,  and  in 
whose  ears  will  its  accents  sound?) 
40 


Shakespeare  and  Precious  Stones 

to  "the  orient  list"  of  gems,  diamond,  topaz, 
amethyst,  emerald,  and  ruby.  This  little  poem, 
with  its  play  upon  the  lady-love's  name,  can  find 
a  place  here,  although  many  readers  are  already 
familiar  with  it. 

To  THE  Idol  of  Mine  Eyes  and  the  Delight  of  Mine 

Heart, 

anne  hathaway. 

Would  ye  be  taught,  ye  feathered  throng, 
With  love's  sweet  notes  to  grace  your  song, 
To  pierce  the  heart  with  thrilling  lay. 
Listen  to  mine  Anne  Hathaway! 
She  hath  a  way  to  sing  so  clear, 
Phoebus  might  wond'ring  stop  to  hear; 
To  melt  the  sad,  make  blithe  the  gay, 
And  nature  charm,  Anne  hath  a  way: 

She  hath  a  way, 

Anne  Hathaway, 
To  breathe  delight  Anne  hath  a  way. 

When  envy's  breath  and  rancorous  tooth 

Do  soil  and  bite  fair  worth  and  truth, 

And  merit  to  distress  betray. 

To  soothe  the  heart  Anne  hath  a  way; 

She  hath  a  way  to  chase  despair, 

To  heal  all  grief,  to  cure  all  care, 

Turn  foulest  night  to  fairest  day: 

Thou  know'st,  fond  heart,  Anne  hath  a  way, 

She  hath  a  way, 

Anne  Hathaway, 
To  make  grief  bliss  Anne  hath  a  way. 
41 


Shakespeare  and  Precious  Stones 

Talk  not  of  gems,  the  orient  list, 
The  diamond,  topaz,  amethyst, 
The  emerald  mild,  the  ruby  gay; 
Talk  of  my  gem,  Anne  Hathaway! 
She  hath  a  way,  with  her  bright  eye, 
Their  various  lustre  to  defy, 
The  jewel  she  and  the  foil  they. 
So  sweet  to  look  Anne  hath  a  way. 

She  hath  a  way, 

Anne  Hathaway, 
To  make  grief  bliss  Anne  hath  a  way. 

But  were  it  to  my  fancy  given 

To  rate  her  charms,  I'd  call  them  Heaven; 

For  though  a  mortal  made  of  clay. 

Angels  must  love  Anne  Hathaway. 

She  hath  a  way  so  to  control 

To  rupture  the  imprisoned  soul. 

And  sweetest  Heaven  on  earth  display, 

That  to  be  Heaven  Anne  hath  a  way! 

She  hath  a  way, 

Anne  Hathaway, 
To  be  Heaven's  self  Anne  hath  a  way. 

This  little  poem  is  by  Charles  Dibdin  (1748- 
1814),  the  writer  of  about  1200  sea-songs,  at  one 
time  great  favorites  with  sailors.  It  appeared, 
in  1792,  in  his  long-forgotten  novel,  "Hannah 
Hewit,  or  the  Female  Crusoe,"  and  Sir  Sidney- 
Lee  conjectures  that  it  may  have  been  composed 
on  the  occasion  of  the  Stratford  jubilee  of  1769, 
in  the  organization  of  which  Dibdin  aided  the 
great  actor,  David  Garrick.     In  the  "Poems  of 

4-? 


Shakespeare  and  Precious  Stones 

Places,"  New  York,  1877,  edited  by  Henry  W. 
Longfellow,  this  poem  is  assigned  to  Shakespeare 
on  the  strength  of  a  persistent  popular  error.^*  In 
his  "  Life"  Dibdin  says :  "  My  songs  have  been  the 
solace  of  sailors  in  their  long  voyages,  in  storms, 
in  battle;  and  they  have  been  quoted  In  mutinies 
to  the  restoration  of  order  and  discipline."  It 
has  been  asserted  that  they  brought  more  men 
into  the  navy  than  all  the  press  gangs  could  do. 
The  poem  has  sometimes  been  attributed  to 
Edmund  Falconer  (1814-1879),  an  actor  and 
dramatist,  born  in  Dublin,  and  whose  real  name 
was  Edmund  O'Rourke.  However,  his  poem 
entitled  "Anne  Hathaway,  A  Traditionary  Ballad 
sung  to  a  Day  Dreamer  by  the  Mummers  of  Shot- 
tery  Brook, "^^  falls  far  below  the  lines  we  have 
quoted  in  poetic  quality,  as  may  be  seen  from  the 
opening  stanza  (the  best),  which  runs  as  follows: 

No  beard  on  thy  chin,  but  a  fire  in  thine  eye, 
With  lustiest  Manhood's  in  passion  to  vie, 
A  stripling  in  form,  with  a  tongue  that  can  make 
The  oldest  folks  listen,  maids  sweethearts  forsake, 
Hie  over  the  fields  at  the  first  blush  of  May, 
And  give  thy  boy's  heart  unto  Anne  Hathaway. 

^^  Sir  Sidney  Lee,  "A  Life  of  Shakespeare,"  new  edition, 
London,  1915,  p.  26,  note. 

^^  Edmund  Falconer,  "Memories,  the  Bequest  of  my 
Boyhood,"  London,  1863,  pp.  14-22. 

43 


Shakespeare  and  Precious  Stones 

In  none  of  the  allusions  to  precious  stones 
made  by  Shakespeare  is  there  any  Indication 
that  he  had  In  mind  any  of  the  Biblical  passages 
treating  of  gems.  The  most  notable  of  these  are 
the  enumeration  of  the  twelve  stones  in  Aaron's 
breast-plate  (Exodus  xxvili,  17-20;  xxxix,  10-13), 
the  list  of  the  foundation  stones  and  gates  of  the 
New  Jerusalem  given  by  John  In  Revelation 
(xxi,  19-21),  and  the  description  of  the  Tyrlan 
king's  "covering"  in  Ezekiel  (xxviii,  130).  Had 
the  poet  given  any  particular  attention  to  these 
texts  we  could  scarcely  fail  to  note  the  fact. 
Other  Bible  mentions,  such  as  those  elsewhere 
made  by  Ezekiel  (xxvli,  16,  22),  regarding  the 
trade  of  Tyre,  the  agates  (and  coral)  from  Syria, 
and  the  precious  stones  brought  by  the  Arabian 
or  Syrian  merchants  of  Sheba  and  Raamah,  are 
too  much  generalized  to  invite  any  special  notice. 
The  same  may  be  said  of  most  of  the  remaining 
brief  allusions.  We  might  rather  expect  that 
where  the  color  or  brilliancy  of  a  precious  stone 
is  used  as  a  simile  this  might  strike  a  poet's 
fancy  and  perhaps  find  direct  expression  In  his 
own  words.  The'  light  of  the  New  Jerusalem  is 
likened  to  "a  jasper  stone,  clear  as  crystal" 
(Rev.  xxi,  11),  and  in  Exodus  (xxiv,  10)  the 
sapphire  stone  is  said  to  be  "as  it  were  the  body 

44 


FIVE  (IF  THE  SIX  AUTHENTIC  SHAKESI'EARE  SIC.NATURES 


I.     Signature  on  the  purchase  deed  of  Shakespeare's  house  in  Blackfriars,  dated 
March  10,  1613.      In  the  Guildhall,  London 


h^  jf^f—f^^As 


2,  3,  4.      Signatures  on  the  three  pages  of  Shakespeare's  will  executed  March 
25,   1616.     Original  in  Somerset  House,  London 


*^T- 


-■  g-i 


Si^iKiturc  attached  to  the  deed  mortgaging  the  house  in  Bl:i>  kfn 
March  II.  1613.      In  the  British  Museum 


Shakespeare  and  Precious  Stones 

of  heaven  in  its  clearness."  However,  that 
Shakespeare  wrote  of  "the  heaven-hued  sap- 
phire" ("Lover's  Complaint,"  1.  215)  has  no 
necessary  connection  with  this,  as  the  celestial 
hue  of  the  beautiful  sapphire  is  spoken  of  time 
and  again  by  many  of  the  older  writers. 

It  should  be  borne  in  mind  that  the  great 
English  translation  of  the  Bible,  popularly  called 
"King  James'  Bible,"  was  published  only  after 
Shakespeare  had  completed  his  last  play  in  161 1. 
Before  that  time,  dating  from  Tyndale's  version 
of  1525,  and  ifi  great  measure  based  on  it,  a 
number  of  English  translations  had  appeared, 
the  most  authoritative  in  Shakspeare's  time 
being  perhaps  the  "Bishops'  Bible,"  printed 
under  the  patronage  of  Queen  Elizabeth  in  1568, 
and  edited  by  the  Archbishop  of  Canterbury. 

The  Geneva  Bible  of  1560,  the  first  entire 
Bible  in  English  in  which  the  division  into  chap- 
ters and  verses  was  carried  out,  had,  however, 
the  widest  dissemination  in  Shakespeare's  time, 
and  a  careful  study  of  passages  in  his  works 
referable  to  Biblical  texts  appears  to  prove  that 
this  version  was  the  one  with  which  he  was  most 
familiar.  His  plays  testify  to  his  close  knowl- 
edge of  the  Scriptures,  although  no  writer  is  less 
fettered  by  purely  doctrinal  considerations.    The 

45 


Shakespeare  and  Precious  Stones 

Geneva  Bible  went  through  no  less  than  sixty 
editions  in  Queen  Elizabeth's  reign,  and  even 
after  the  issue  of  the  "Authorized  Version"  in 
i6n  it  competed  successfully  with  this  for  a 
time. 

That  Shakespeare  may  have  seen  Philemon 
Holland's  (i 552-1637)  excellent  translation  of 
Pliny  is  nowise  unlikely.  A  notable  passage  in 
his  Othello  seems  in  any  case  to  indicate  that  it 
was  suggested  by  Pliny's  words  (Bk.  II,  chap.  97, 
in  Holland's  version) : 

And  the  sea  Pontus  evermore  floweth  and  runneth  out 
into  Propontic,  but  the  sea  never  retireth  backe  againe 
within  Pontus. 

Othello  replies  thus  to  lago's  conjecture  that 
he  may  change  his  mind  (Act  iii,  sc.  3): 

Never,  lago.    Like  to  the  Pontic  sea. 
Whose  icy  current  and  compulsive  course 
Ne'er  feels  retiring  ebb,  but  keeps  due  on 
To  the  Propontic  and  the  Hellespont, 
Even  so  my  bloody  thoughts,  with  violent  pace, 
Shall  ne'er  look  back,  ne'er  ebb  to  humble  love. 
First  Folio,  "Tragedies,"  p.  326,  col.  B,  lines  34-39. 

There  is,  however,  no  trace  of  any  familiarity 

on  Shakespeare's  part  with  the  precious  stone 

lore  of  the  Roman  encyclopaedist,  either  from 

the  Latin  text  of  his  great  "Historia  Naturalis,'* 

or  from  the  translation  published  by  Holland  in 

46 


Shakespeare  and  Precious  Stones 

1601.  This  translator,  who  Englished  many 
of  the  chief  Latin  and  Greek  authors,  Suetonius, 
Livy,  Ammianus  Marcellinus,  Plutarch's  "Mor- 
als" and  other  works,  was  pronounced  by  Fuller, 
in  his  "Worthies,"  to  be  "translator  general  in 
his  age,"  adding  that  "these  books  alone  of  his 
turning  into  English  will  make  a  country  gentle- 
man a  competent  library."  For  his  Ammianus 
Marcellinus  the  Council  of  Coventry,  his  place  of 
residence,  paid  him  £4,  and  £5  for  a  translation 
of  Camden's  "Britannia" — small  sums,  indeed, 
for  so  much  labor,  but  not  so  unreasonable  when 
we  think  that  a  half-century  later  the  immortal 
Milton  got  but  £5  for  his  "Paradise  Lost." 
He  was  a  Fellow  of  Trinity  College,  Cambridge, 
where  he  had  studied  and  graduated;  later  he 
studied  medicine,  receiving  a  degree  of  M.D., 
not  from  Oxford  or  Cambridge,  however,  but 
either  from  a  Scottish  or  foreign  university. 

Although  Solinus,  writing  in  the  third  cen- 
tury A.D.,  relies  mainly  upon  Pliny  for  his  in- 
formation on  precious  stones,  still  he  here  and 
there  gives  evidence  of  a  more  critical  spirit, 
as  when  he  says  of  the  rock-crystal  that  the 
theory  according  to  which  It  was  frozen  and 
hardened  water  was  necessarily  Incorrect,  for 
it  was  to  be  found   In   such   mild   climates   as 

47 


Shakespeare  and  Precious  Stones 

"Alabanda  in  Asia  and  the  Island  of  Cyprus."  ^^ 
This  Is  the  more  notable  that  the  wholly  Incor- 
rect view  persisted  Into  the  sixteenth  century,  so 
learned  a  writer  as  Lord  Bacon  (d.  1626)  restat- 
ing It  in  his  last  work,  "Sylva  Sylvarum." 

One  of  the  most  curious  gem-treatises,  espe- 
cially as  a  source  of  early  sixteenth-century  beliefs 
in  the  magic  properties  of  precious  stones,  the 
"Speculum  Lapldum"  of  Camillo  Leonardo, 
published  in  Venice,  1502,  probably  never  came 
under  Shakespeare's  eye.  Indeed,  even  in  Italy 
it  seems  to  have  been  so  neglected  that  Ludovico 
Dolci  ventured  to  publish  a  literal  Italian  version 
of  the  Latin  original  as  his  own  work  in  1565. 
The  English  "Mirror  of  Stones,"  issued  in  1750, 
is  frankly  stated  to  be  a  translation  of  the  Latin 
original  bearing  the  same  name." 

In  Marlowe's  (1564-1593)  "Hero  and  Leander," 
almost  certainly  written  before  Shakespeare's 
"Venus  and  Adonis"  (1593),  although  not  pub- 
lished until  1598,  five  years  after  Marlowe's 
death,  "pearl  tears"  and  the  "sparkHng  dia- 
mond" are  used  much  in  the  same  way  as  by 
Shakespeare,  as  appears  In  the  following  verses: 

^^  Collectanea  rerum  memorabilium,  Cap.  15. 
^■^  Noted  in  the  present  writer's  "The  Curious  Lore  of 
Precious  Stones,"  Philadelphia  and  London,  1913,  p.  18. 


Shakespeare  and  Precious  Stones 

Forth  from  those  two  translucent  cisterns  brake 
A  stream  of  liquid  pearl,  which  down  her  face 
Made  milk-white  paths.  Lines  296-298. 

Why  should  you  worship  her!  her  you  surpass 
As  much  as  sparkling  diamonds  flaring  glass. 

Lines  213,  214. 

There  Is  a  curious  parallelism  between  a  pas- 
sage In  Troilus  and  Cressida,  1609,  and  one  In 
Marlowe's  Dr,  Faustus,  1588.  Marlowe  wrote 
(sc.  14,  1.  83): 

Was  this  the  face  that  launched  a  thousand  ships 
And  burnt  the  topless  towers  of  Ilium.? 

This  Is  followed  very  closely  by  Shakespeare, 
with  the  substitution  of  "pearl"  for  "face." 

She  [Helen]  is  a  pearl, 

Whose  price  hath  launch'd  above  a  thousand  ships. 

Troilus  and  Cressida,  Act  ii,  sc.  2,  1.  82. 

First  Folio,  at  end  of  "Histories,"  unnumbered  page 

(596  of  facsimile),  col.  A,  line  19. 

The  greatest  of  the  world's  poets  lived  In  a 
period  midway  between  the  highest  development 
of  Renaissance  civilization  and  the  foundation  of 
our  modern  civilization,  and  he  was  thus  at  once 
heir  to  the  rich  treasures  of  a  glorious  past,  and  en- 
dowed with  a  poetic,  or  we  might  say  a  prophetic 
insight  that  makes  his  works  appeal  as  closely  to 
the  readers  of  to-day  as  to  those  of  his  own  time. 

4  •  49 


Shakespeare  and  Precious  Stones 

In  the  four  leading  European  nations  of  the 
age — Italy,  despite  her  high  rank  in  art,  still 
lacked  national  unity — four  sovereigns  of  marked 
though  widely  diverse  character  and  attain- 
ments reigned  for  a  considerable  part  of  Shake- 
speare's life.  Of  the  "  Virgin  Queen  "  we  scarcely 
need  to  write.  The  England  of  her  day,  and  of 
later  days,  would  not  have  been  what  it  was  and 
what  it  became,  without  the  aid  of  her  mingled 
shrewdness  and  prudence.  Faults  she  had  and 
shortcomings,  but,  granted  the  almost  overpow- 
ering difficulties  she  had  to  face,  both  at  home 
and  abroad,  it  is  doubtful  whether  a  more  de- 
cided, a  more  straight-forward  policy  would  have 
been  as  successful  as  the  somewhat  devious  one 
she  pursued.  Her  chief  rival,  Philip  II  (1556- 
1598),  as  much  averse  as  Elizabeth  herself  to 
energetic  action,  even  more  fond  of  procrastina- 
tion, lacked  her  relative  religious  and  political 
tolerance,  and  left  Spain  weaker  than  he  had 
found  it.  And  still  his  tenacity,  his  devotion  to 
the  cause  he  believed  to  be  that  of  heaven,  his 
consistency,  and  even  the  gloomy  seriousness  of 
his  life,  testify  to  a  strong  soul,  though  a  thor- 
oughly unlovable  one. 

The  reign  of  the  eccentric  Rudolph  II,  Em- 
peror of  Germany  (i 576-161 2),  whose  imperial 

50 


Shakespeare  and  Precious  Stones 

residence  was  at  Prague,  covers  the  greater  part 
of  Shakespeare's  life.  In  spite  of  many  failings 
and  mistakes,  this  monarch  did  much  to  foster 
the  study  of  the  arts  and  sciences  of  his  age,  so 
far  as  he  was  able  to  understand  them.  That 
he  was  for  a  time  the  dupe  of  adventurers  and 
alchemists,  such  as  the  half-visionary  John  Dee 
and  the  altogether  unscrupulous  Edward  Kelley, 
was  no  unusual  experience  in  those  days,  when 
the  dividing  line  between  true  science  and  char- 
latanism was  too  indistinctly  marked  to  be 
easily  discernible. 

The  greatest  of  all  the  sovereigns  of  Shake-- 
speare's  time  was  Henry  IV  of  France,  unques- 
tionably the  greatest  of  French  kings,  despite 
the  fact  that  the  primacy  has  often  been  accorded 
to  the  Roi  Soleil,  Louis  XIV.  The  powerful  and 
ductile  personality  that  was  able  to  put  an  end 
to  the  destructive  religious  wars  of  France  and 
to  lay  a  firm  foundation  for  the  strongly-central- 
ized power  of  a  later  time,  a  foundation  which 
the  great  statesman  Richelieu  broadened  and 
deepened,  deserves  all  the  credit  that  should  be 
given  to  those  who  conquer  the  first  apparently 
insurmountable  difiiculties  in  the  realization  of 
a  great  aim. 

How  brief  was  the  reign  of  most  of  the  popes 

51 


Shakespeare  and  Precious  Stones 

of  this  time  is  shown  by  the  fact  that  no  less 
than  ten  of  them  were  at  one  time  or  other 
Shakespeare's  contemporaries,  although  the 
duration  of  his  life  was  but  fifty-two  years.  Of 
these  probably  the  most  noteworthy  was  Greg- 
ory XIII  (i 572-1 585),  in  whose  reign  occurred 
the  fearful  Massacre  of  St.  Bartholomew,  August 
24,  1572,  and  the  reform  of  the  calendar  from 
that  known  as  the  Julian  to  the  new  style  named 
the  Gregorian  Calendar  in  honor  of  this  pope. 

In  the  East,  just  coming  into  closer  commer- 
cial intercourse  with  Europe,  the  long  reign  of 
the  greatest  of  the  Mogul  emperors,  Jelal-ed-din 
Akbar  (i 556-1605),  began  two  years  before  the 
accession  of  Elizabeth  and  lasted  two  years  after 
her  death.  Probably  no  Oriental  sovereign,  cer- 
tainly no  Indian  sovereign,  ranks  higher  than 
Akbar,  who  was  at  once  a  great  statesman,  an 
able  organizer,  and  singularly  tolerant  in  relig- 
ion. In  Persia,  one  of  the  most  marked  rulers 
of  this  land,  Abbas  the  Great,  began  to  reign 
in  1584  and  died  in  1628. 

In  no  period  was  jewelry  worn  more  ornately, 
or  with  greater  display,  we  might  almost  say 
ostentation,  than  in  the  age  of  Shakespeare.  As 
a  rule,  in  this  period  the  precious  stones  were 
less    considered    than    the    elaborate    goldsmith 

52 


Shakespeare  and  Precious  Stones 

work  in  which  they  were  placed.  They  were 
the  adjuncts,  rather  than  the  principal  glory  of 
the  jewel. 

The  court  jeweller  of  James  VI  of  Scotland 
and  of  this  monarch  after  his  accession  to  the 
English  throne,  as  James  I,  was  George  Heriot 
(ca.  1 563-1624),  born  in  Edinburgh,  the  son 
of  a  member  of  the  company  of  goldsmiths 
in  that  city.  As  the  Scotch  goldsmiths  cumu- 
lated the  profession  of  money-lending  with  that 
of  goldsmithing,  they  were  usually  persons  of 
considerable  account  among  the  citizens.  Heriot 
became  a  member  of  the  company  in  1588,  the 
year  of  the  Spanish  Armada.  Despite  the  rather 
straitened  circumstances  of  the  Scottish  court, 
considerable  amounts  were  expended  for  jewels, 
especially  as  the  queen,  Anne  of  Denmark,  was 
very  fond  of  display.  The  nobility  also,  such 
of  them  at  least  as  possessed  the  means,  were 
inclined  to  deck  themselves  out  with  brilliant 
jewels  and  splendid  ornaments  of  massive  gold. 
Herlot's  appointment  as  goldsmith  to  the  queen 
dates  from  1597;  soon  after  this  he  was  made 
jeweller  and  goldsmith  to  the  king.  He  followed 
the  court  to  London  in  1603,  when  King  James 
succeeded  to  Elizabeth,  and  at  the  time  of  his 
death,    February    12,    1624,    had    amassed   the 

53 


Shakespeare  and  Precious  Stones 

sum  of  £50,000  by  his  profitable  connection  with 
the  court,  and  had  also  acquired  lands  and  houses 
at  Rochampton,  in  Surrey,  and  St.  Martin's-in- 
the-Fields,  London.  His  residuary  estate,  which 
amounted  to  £23,625  (^118,125),  he  entrusted  to 
the  provosts,  bailiffs,  ministers,  and  ordinary 
town-council  of  Edinburgh  for  the  erection  of 
an  institution  to  be  called  Heriot's  Hospital, 
where  a  number  of  poor  freemen's  sons  of  the 
town  should  be  educated. ^^  This  foundation  still 
exists,  and  the  excellent  management  of  those 
who  have  had  to  do  with  the  endowment  is 
shown  by  the  fact  that  the  income  it  now  pro- 
duces equals  the  whole  sum  of  the  original 
bequest. 

This  great  Scotch  goldsmith  fashioned  a  num- 
ber of  splendid  rings  for  the  queen.  An  old 
account  furnished  by  Heriot  lists  them  as 
follows  •}^ 

A  ring  with  a  heart  and  serpent,  all  set  about 
with  diamonds; 

A  ring  with  a  single  diamond,  set  in  a  heart 
betwixt  two  hands; 

18  William  Hone,  "The  Every-Day  Book,"  London,  1 838, 
vol.  ii,  cols.  748,  749. 

19 William  Hone,  "Every-Day  Book,"  London,  1838, 
vol.  ii,  cols.  749,  750. 

54 


Shakespeare  and  Precious  Stones 

A  great  ring  in  the  form  of  a  perssed  hand  and 
a  perssed  eye,  all  sett  with  diamonds; 

One  great  ring,  in  forme  of  a  frog,  all  set  with 
diamonds,  price  two-hundreth  poundis; 

A  ring  of  a  burning  heart  set  with  diamondis; 

A  ring  in  the  forme  af  a  scallope  shell,  set 
with  a  table  diamond,  and  opening  on  the  head; 

A  ring  of  a  love  trophe  set  with  diamondis; 

Two  rings,  lyke  black  flowers,  with  a  table 
diamond  in  each; 

A  daissie  ring  sett  with  a  table  diamond; 

A  ryng  sett  all  over  with  diamondis,  made  in 
fashion  of  a  lizard,  120  1.; 

A  ring  set  with  9  diamonds,  and  opening  on 
the  head  with  the  King's  picture  in  that. 

Heriot  also  lists  a  ring  delivered  about  1607 
to  Margaret  Hartsyde,  one  of  the  royal  house- 
hold, describing  it  as  "sett  all  about  with  dia- 
mondis, and  a  table  diamond  on  the  head"; 
that  is,  in  the  bezel.  He  states  that  he  had  been 
given  to  understand  that  this  was  by  direction 
of  Her  Majesty.  His  precaution  in  making  this 
note  appears  to  have  been  fully  justified,  for 
this  Margaret  Hartsyde  was  tried  in  Edinburgh, 
May  31,  1608,  on  the  charge  of  having  pur- 
loined a  pearl  belonging  to  the  queen  and  valued 
at  £110.     Her  excuse  was  that  she  had  taken 

55 


Shakespeare  and  Precious  Stones 

this  and  other  pearls  to  adorn  dolls  for  the  amuse- 
ment of  the  royal  children,  and  that  she  did  not 
expect  the  queen  would  ask  for  them.  As,  how- 
ever, it  was  brought  out  in  the  trial  that  she  had 
cleverly  disguised  some  of  the  pearls  she  had 
taken,  and  had  offered  to  sell  them  to  the  queen, 
she  was  condemned  to  imprisonment  in  Black- 
ness Castle  until  the  payment  of  a  fine  of  £400, 
and  to  confinement  in  Orkney  during  the  re- 
mainder of  her  life.  Eleven  years  later,  however, 
the  king's  advocate  "produced  a  letter  of  re- 
habilitation and  restitution  of  Margaret  Hart- 
syde  to  her  fame."  2° 

In  Shakespeare's  day  the  "goldsmiths"  were 
also  jewellers  and  gem  dealers,  and  often  money- 
lenders as  well.  The  settings  of  the  finest 
precious  stones  were  at  that  time  generally  of 
gold,  rarely  of  silver.  Platinum,  the  metal  that 
now  enjoys  the  greatest  furore  for  diamond  set- 
tings, was  then  unknown  in  Europe;  it  was  first 
brought  to  Europe  in  1735,  from  South  America, 
having  been  found  in  the  alluvial  deposits  of 
the  river  Pinto,  in  the  district  of  Choco,  now 
forming  part  of  the  United  States  of  Colombia. 
The  Spaniards  had  named  it  platina,  from  its 
resemblance  to  plata,  silver.     The  chief  source 

^^''Every-Day  Book,"  loc.  cit. 

56 


Shakespeare  and  Precious  Stones 

in  our  time  is  Russia,  the  richest  deposits  being 
those  discovered  in  1825,  on  the  Iss,  a  tributary 
of  the  Tura,  in  the  Urals.  Other  valuable  de- 
posits are  in  the  district  of  Nizhni-Tagilsk. 
Platinum  also  occurs  in  Brazil,  California,  and 
British  Columbia,  associated  with  gold,  as  well 
as  in  Borneo,  New  South  Wales,  Australia,  and 
in  New  Zealand.  Its  use  in  gem-mountings 
began  about  1870,  and  from  1880  onward  it  has 
become  more  and  more  favored,  until  now  it 
has  almost  entirely  superseded  gold  in  the  finest 
jewelry,  especially  for  diamond  settings.  Long 
before  the  metal  was  known  and  used  in  Europe, 
ornamental  use  of  it  was  made  in  South  America, 
in  the  district  we  have  mentioned,  the  material 
not  being  fused,  but  simply  forged  out  of  the 
nuggets  found  in  the  deposits. 

That  but  few  fine  diamonds  were  in  Europe 
when  Shakespeare  wrote  has  already  been  noted; 
indeed,  the  annual  importation  from  India,  then 
the  only  source,  can  hardly  have  exceeded 
$100,000  on  an  average,  while  at  the  present 
day  the  value  of  the  diamonds  from  the  great 
African  mines  imported  into  Europe  and  America 
amounts  to  from  $40,000,000  to  $60,000,000  each 
year. 

In  King  James's  reign,  besides  Heriot,  William 

57 


Shakespeare  and  Precious  Stones 

Herrlck  (brother  of  Nicolas)  and  John  Spilman 
were  appointed  jewellers  to  the  king,  queen,  and 
prince,  the  annual  emoluments  being  £50  an- 
nually. It  is  stated  that  Herrick  furnished 
jewels  worth  £36,000  to  Queen  Anne  of  Den- 
mark. Such  of  her  many  jewels  as  were  to  be 
found  when  she  died  are  said  to  have  been  left 
to  her  son,  later  Charles  I,  and  none  to  her 
daughter  Elizabeth,  later  Queen  of  Bohemia  and 
ancestress  of  many  of  the  sovereigns  of  Europe, 
as  well  as  of  the  present  reigning  house  in 
England.  Unfortunately  for  her  heir,  a  great 
part  of  the  jewels  had  been  embezzled,  and 
could  not  be  recovered,  although  models  of 
many  had  been  carefully  preserved  by  William 
Herrick,  who  swore  that  the  originals  had  been 
delivered  to  the  queen.  Less  notable  jewellers 
of  King  James's  day  were  Philip  Jacobson, 
Arnold  Lulls,  John  Acton,  and  John  Williams. 
One  of  them,  Arnold  Lulls,  has  left  a  fine  set 
of  contemporary  drawings  representing  jewels  of 
the  epoch;  these  are  now  to  be  seen  in  the  Vic- 
toria and  Albert  Museum,  London.  As  an  in- 
stance of  the  value  of  some  of  the  jewels  of  his 
design,  it  is  recorded  that  the  sum  of  £1550  was 
paid  for  a  diamond  jewel  with  pearl  pendants 
and  two  dozen  buttons,  furnished  to  the  king  to 

58 


Shakespeare  and  Precious  Stones 

be  bestowed  upon  the  queen  at  the  christening 
of  the  Princess  Mary  in  1605.21 

While  the  jeweller's  art  in  England  was  still 
under  the  influence  of  foreign  goldsmiths  in 
Elizabeth's  time,  it  had  to  a  considerable  extent 
emancipated  itself  from  foreign  control  in  the  lat- 
ter part  of  her  reign  and  in  that  of  her  successor. 
In  addition  to  George  Heriot,  whom  we  have  just 
noticed,  several  others  are  well  worthy  of  men- 
tion, such  as  Dericke  Anthony,  AflFabel  Partridge, 
Peter  Trender,  and  Nicolas  Herrick,22  the  father 
of  the  poet  Robert  Herrick,  who  makes  many 
a  telling  use  of  the  colors  and  charm  of  precious 
stones  and  pearls  in  his  dainty  poems.  To  these 
must  be  added  Sir  John  Spilman,of  German  birth, 
who  made  many  jewels  at  the  royal  command. 

We  should  remember  that  for  the  cutting  of 
precious  stones  steam-power  was  not  then  avail- 
able, "man-power"  being  employed.  A  large 
turning  wheel  was  pushed  around  by  a  man 
holding  a  bar  extending  from  it.  The  motion  of 
this  large  wheel  was  transmitted  to  other  smaller 
ones.  The  number  of  revolutions  per  minute 
hardly  exceeded  a  few  hundred,  while  in  modern 

21 H.  Clifford  Smith,  "Jewellery,"  London,  1908  ,  p.  302. 
22  H.  Clifford  Smith,  "Jewellery,"  London,   1908,   pp. 
219,  220,  301. 

59 


Shakespeare  and  Precious  Stones 

times  a  speed  of  from  2000  to  2500  revolutions  per 
minute  is  attained.  The  diamond  cutting  indus- 
try was  largely  in  the  hands  of  Jews  in  Lisbon. 
The  gem-cutting  processes  were  not  greatly 
modified  for  many  years  after  Shakespeare's 
death,  so  that  a  representation  of  the  wheel  and 
mill  used  in  1750  gives  a  fairly  good  general  idea 
of  the  modus  operandi.  The  large  wooden  wheel, 
whose  axis  is  the  second  pillar  within  the  frame, 
is  bent,  and  makes  an  elbow  under  the  wheel  to 
receive  the  impulsion  of  a  bar  that  serves  instead 
of  a  turn-handle.  On  the  right  side  of  the  frame, 
where  the  boy  stands,  Is  the  turn-handle  which 
sets  the  wheel  in  motion  by  means  of  the  elbow 
of  its  axis.  So  that  If  the  wooden  wheel  be 
twenty  times  larger  than  the  iron  one,  a  hundred 
turns  of  the  larger  wheel  will  cause  a  thousand 
revolutions  of  the  smaller  one.  The  method  of 
holding  the  diamond  In  place  over  the  iron  wheel, 
when  in  motion,  so  that  it  presses  upon  the  latter 
and  is  polished  thereby,  is  shown  in  the  lower 
right-hand  corner  of  the  plate. 

The  German  traveller,  Paul  Hentzner,  who 
visited  England  in  1598,  toward  the  end  of 
Elizabeth's  life,  describes  her  jewelling  in  the 
following  words: 

"The  Queen  had  in  her  ears  two  pearls  with 

60 


FROM  A  PORTRAIT  OF  QUEEN  ELIZABETH 
In  the  possession  of  his  Grace  the  Duke  of  Devonshire,  K.G  ,  Hard  wick  Hall.  The  queen  has  jewels  in 
her  hair,  a  pearl  eardrop,  and  two  necklaces,  one  fitting  closely  to  the  neck,  the  other  fallinR  over  the 
breast.  The  stifT  brocade  skirt  is  embroidered  with  a  wonderful  array  of  aquatic  birds  and  animals.  On 
the  left,  the  cushion  of  the  chair  of  state  is  embroidered  with  the  queen's  monogram.  Surmountina 
the  chair  is  a  crystal  ball.     The  original  canvas  measures  90x66  inches 


Shakespeare  and  Precious  Stones 

very  rich  drops;  she  wore  false  hair  and  that  red; 
upon  her  head  she  had  a  small  crown;  her  bosom 
was  uncovered,  and  she  had  on  a  necklace  of  ex- 
ceedingly fine  jewels.  She  was  dressed  in  white 
silk,  bordered  with  pearls  of  the  size  of  beans,  and 
over  it  a  mantle  of  blacl^  silk  shot  with  silver 
threads;  her  train  was  very  long.  Instead  of  a 
chain,  she  had  anoblongcollarof  gold  and  jewels." 

In  addition  to  this  display  the  traveller  tells 
us  that  the  queen's  right  hand  was  fairly  spark- 
ling with  jewelled  rings. 

Aside  from  his  portrayal  of  jewels  in  his  numer- 
ous portraits,  Holbein  ranked  as  the  master  de- 
signer of  jewels  in  his  day.  Many  of  the  finest 
of  these  designs  have  been  preserved  for  us  and 
can  be  seen  in  the  British  Museum,  to  which 
they  were  bequeathed  by  Sir  Hans  Sloane  in 
1753.  There  are  179  separate  pieces,  usually 
pen-and-ink  sketches.  The  execution  of  the 
jewels  from  these  designs  is  believed  to  have 
been  mainly  done  by  Hans  of  Antwerp,  known 
as  Hans  Anwarpe,  a  friend  of  Holbein,  who 
settled  in  London  in  1514,  and  was  appointed 
goldsmith  to  King  Henry  VIII,  for  whom  he 
produced  many  jewels  for  New  Year's  gifts. ^^ 

23 H.  Clifford  Smith,  "Jewellery,"  London  [1908],  pp. 
211,  213. 

61 


Shakespeare  and  Precious  Stones 

In  judging  of  the  jewels  figured  in  portraits 
we  must  remember  that  the  artist  has  often 
modified  them  to  bring  them  into  greater  har- 
mony with  their  immediate  surroundings.  This, 
in  some  cases,  may  lead  him  to  make  of  a  some- 
what inartistically  designed  jewel  a  beautifully 
proportioned  one.  Again,  he  may  be  led  to 
exaggerate  the  size  of  the  precious  stones  or 
pearls,  and  to  intensify  or  deepen  their  colors. 
A  recent  instance  regards  a  portrait  of  the 
former  queen  of  Spain  by  one  of  the  foremost 
Spanish  artists  of  our  day.  The  royal  lady  was 
depicted  wearing  an  enormous  pearl;  however, 
the  artist  informed  the  author  that  the  real 
pearl  was  much  smaller  than  the  painted  one, 
but  that,  in  portraying  it,  a  better  decorative 
effect  was  obtained  by  increasing  its  size. 
Whether  Holbein  (1497-1543),  with  his  Dutch 
exactness  of  portrayal,  was  led  into  any  similar 
exaggerations  we  can  never  tell,  as  little  as  we 
can  know  anything  definite  regarding  the  true 
size  of  the  jewels  shown  in  the  portraits  by  the 
Italian  Zucchero  (1529-1566),  the  Fleming  Lucas 
de  Heere  (i 524-1 584),  or  by  any  other  of  the 
portrait  painters  of  Elizabeth's  time. 

In  a  very  modest  way  the  addition  of  gilded 
scarf-pins,  brooches,  chains,  etc.,  not  owned  by 

62 


Shakespeare  and  Precious  Stones 

the  sitters,  was  not  uncommonly  practised  thirty 
or  forty  years  ago,  when  colored  tintypes  were 
popular.  These  were  painted  on  the  photographs, 
much  to  the  gratification  of  those  who  ordered 
them  for  distribution  among  their  friends. 

The  court-jewellers  of  France  in  Shakespeare's 
day  rivalled,  though  they  did  not  excel,  those  of 
England.  Among  them  a  prominent  place 
belongs  to  Francois  Dujardin  (or  Desjardin), 
goldsmith  of  Charles  IX  (i  560-1 574)  and  Henri 
III  (i 574-1 589).  When  a  verification  and  an 
inventory  of  the  French  Crown  Jewels  were 
made  on  August  i,  1574,  after  the  death  of 
Charles  IX,  the  expert  examination  was  en- 
trusted to  Fran9ois  Dujardin,  who  is  termed 
"orfebvre  et  lapidaire  du  Roy."  The  gold- 
smith's art  was  passed  down  from  father  to  son 
in  this  family:  a  second  F.  Dujardin  (b.  ca. 
1565)  mounted  the  parures  made  for  Elizabeth 
of  Austria,  daughter  of  Henri  IV  and  Maria  de' 
Medici.  In  the  reign  of  Henri  IV  and  the  suc- 
ceeding regency  of  Maria  de'  Medici,  Josse  de 
Langerac,  received  as  master  goldsmith  in  1594, 
and  the  brothers  Rogier,  are  noted  as  leading 
goldsmiths  who,  besides  executing  many  fine 
jewels,  frequently  made  loans  of  money  to  the 
Queen  Regent,   and  seem  to  have  experienced 

63 


Shakespeare  and  Precious  Stones 

great  difficulty  In  securing  full  payment.  Cor- 
neille  Rogier  set  the  jewels  worn  at  her  marriage 
by  Anne  d'Autrlche,  wife  of  Louis  XIII.  Two 
brothers,  each  bearing  the  name  Pierre  Courtois, 
are  also  noted  In  old  records.  One  of  them,  at 
the  time  of  his  death.  In  1611,  occupied  two 
apartments  with  two  shops  In  the  Louvre;  the 
shop  of  the  other  had  the  sign  "  Aux  Trols  Roys," 
probably  referring  to  the  "Three  Kings  of  the 
East,"  the  Magi  of  the  Gospel,  very  appro- 
priate patrons  for  goldsmiths. 2" 

Thierry  Badouer,  a  German  goldsmith-jewel- 
ler, received  from  the  French  court.  In  1572,  an 
order  for  250,000  crowns'  worth  of  jewels  to  be 
distributed  as  gifts  at  the  approaching  marriage 
of  Henri  de  Navarre  with  Marguerite  de  Valols. 
He  faithfully  executed  his  part  of  the  task  and 
brought  the  jewels  with  him  to  Paris,  but  before 
he  had  been  able  to  deliver  them  to  the  Royal 
Treasury  they  were  stolen  from  him  during  the 
confusion  of  the  St.  Bartholomew  Massacre. 
Eventually,  In  the  reign  of  Henri  IV,  his  widow 
was  partly  reimbursed  for  the  loss,  receiving 
one-quarter  of  the  amount  of  her  claim."    After 

2*  Germain  Bapst,  "Histoire  des  Joyaux  de  la  Couronne 
de  France,"  Paris,  1889,  pp.  175,  176,  300,  304. 
25  Op.  cit.,  p.  289. 

64 


Shakespeare  and  Precious  Stones 

the  Massacre  of  St.  Bartholomew,  and  as  a  result 
of  it,  many  Protestants  and  Catholics  left  France 
for  Hanau,  Germany,  where  to  this  day  they 
carry  on  the  jeweller's  art;  and  from  this  begin- 
ning Hanau  became  a  jeweller's  centre. 

The  best  reproduction  of  the  First  Folio  of 
1623  is  the  photographic  facsimile,  made  in  1902, 
of  the  copy  formerly  owned  by  the  Duke  of 
Devonshire  and  now  in  the  possession  of  Henry 
E.  Huntington,  of  New  York.^^  The  original 
Folio,  prepared  by  the  managers  of  Shakespeare's 
company,  John  Heminge  and  Henry  Condell, 
bears  the  imprint  of  Isaac  Jaggard  and  Edward 
Blount,  the  printing  house  being  conducted  by 
William  Jaggard  and  his  son  Isaac.  It  is  be- 
lieved that  an  edition  of  five  hundred  copies 
was  issued,  at  one  pound  per  copy.  That  the 
publication  was  essentially  a  commercial  ven- 
ture, although  it  may  also  have  been  a  labor  of 
love  for  some  of  the  editors,  is  brought  out 
clearly  and  quaintly  in  the  preface  addressed 

2^  "Shakespeares  Comedies,  Histories,  &  Tragedies, 
being  a  reproduction  in  facsimile  of  the  First  Folio  Edition 
of  1623,  from  the  Chats  worth  copy  in  the  possession  of  the 
Duke  of  Devonshire,  K.G.,  with  introduction  and  censure 
of  copies  by  Sidney  Lee."  Oxford,  Clarendon  Press, 
1902,  XXXV  908  pp.  Edition  limited  to  looo  numbered 
and  signed  copies. 

5  65 


Shakespeare  and  Precious  Stones 

to  "The  great  Variety  of  Readers,"  and  signed 
by  Hemlnge  and  Condell.  This  reads  that  the 
book  was  printed  at  the  charges  of  W.  Jaggard, 
Ed.  Blount,  I.  Southweeke,  and  W.  Apsley,  1623. 
The  following  passage  from  the  preface  is  well 
worth  quoting,  its  spirit  is  so  delightfully 
modern : 

The  fate  of  all  Bookes  depends  upon  your  capacities, 
and  not  of  your  heads  alone,  but  of  your  purses.  Well! 
It  is  now  publique,  &  you  wil  stand  for  your  priviledges, 
wee  know:  to  read,  and  censure.^^  Do  so,  but  buy  it 
first.  That  doth  best  commend  a  Booke  the  Stationer 
saies.  Then,  how  odde  soever  your  braines  be,  or  your 
wisdomes,  make  your  license  the  same  and  spare  not  .  .  . 
But  whatever  you  do.  Buy.  Censure  will  not  drive  a 
Trade,  nor  make  the  Jacke  go. 

The  chief  credit  for  bringing  together  the 
materials  for  the  First  Folio,  in  1623,  is  believed 
to  be  due  to  William  Jaggard.  Some  ten  years 
earlier  he  had  acquired  the  printing-privileges  of 
certain  of  the  quartos.  Edward  Blount,  whose 
name  appears  as  publisher  on  the  title  page  with 
that  of  Isaac  Jaggard,  was  merely  a  stationer, 
so  that  the  actual  printing  was  solely  under  the 
charge  of  the  latter,  who  seems,  at  this  time,  to 
have  been  entrusted  with  this  department  of 
the  business.     However,  Blount's  services  may 

27  Judge. 

66 


Shakespeare  and  Precious  Stones 

have  been  valuable  since  he  had  better  literary 
taste  than  the  Jaggards  possessed. 

In  spite  of  certain  evident  faults  of  proportion, 
the  portrait  of  Shakespeare  engraved  by  Martin 
Droeshout  for  the  title  page  of  the  1623  Folio 
bears  internal  evidence  of  being  a  fairly  good 
likeness,  for  the  face  possesses  a  marked  indi- 
viduality.    There  is  a  belief  that  it  was  taken 
from  the  so-called   "Flower"  portrait,  now  in 
the  Shakespeare  Memorial  Gallery  at  Stratford- 
upon-Avon,  and  which  is  conjectured  to  have 
been   painted   in   1609,  at  least  during  Shake- 
speare's   lifetime,    possibly  by  another   Martin 
Droeshout,  a  Fleming,  uncle  of  the  engraver  of 
the  same  name.     This  portrait  was  discovered, 
painted  on  a  panel  at  Peckham  Rye,  bearing  the 
inscription  "Will  Shakespeare"",  1609."    That  it 
should  be  the  original  from  which  the  Droeshout 
engraving  was  taken  has  been  doubted,  since  it 
appears  rather  to  resemble  later  states  of  the 
plate  than  earlier  ones.    While  Ben  Jonson,  who 
had  seen  Shakespeare  so  often,  may  have  been 
partly  moved  to  bestow  undue  praise  upon  the 
Folio  portrait,  in  the  lines  he  furnished  the  pub- 
lishers to  be  placed  immediately  facing  it,  by 
his  wish  to  say  a  good  word  for  their  publication, 
he  would  scarcely  have  made  use  of  such  super- 

67 


Shakespeare  and  Precious  Stones 

lative  terms  had  he  not  considered  it  to  be  at 
least  a  fairly  good  likeness.  Jonson's  lines  have 
been  so  often  printed  that  few  are  unacquainted 
with  them,  but  as  illustrating  the  above  remarks 
they  can  be  repeated  here,  in  the  old  spelling 
and  form  of  the  First  Folio: 

To  THE  Reader. 
This  Figure,  that  thou  here  seest  put. 

It  was  for  gentle  Shakespeare  cut; 
Wherein  the  Graver  has  a  strife 

With  Nature,  to  out-doo  the  life: 
O,  could  he  but  have  drawne  his  wit 

As  well  in  brasse,  as  he  hath  hit 
His  face;  the  Print  would  then  surpasse 

All,  that  was  ever  writ  in  brasse. 
But,  since  he  cannot.  Reader,  looke 

Not  on  his  Picture,  but  his  Booke. 

B.  I. 

A  most  attractive  and  instructive  exhibition 
of  reproductions  of  the  portraits  of  Shakespeare, 
or  supposedly  of  him,  was  shown  at  the  rooms 
of  the  Grolier  Club,  April  6-29,  1916.  The 
cataloguers  embraces  436  numbers,  illustrating  all 
the  principal  types.     The  exhibition  also  com- 

^  Catalogue  of  an  exhibition  illustrative  of  the  text  of 
Shakespeare's  plays,  as  published  in  edited  editions, 
together  with  a  large  collection  of  engraved  portraits  of 
the  poet.  New  York,  The  Grolier  Club,  April  6-29,  1916, 
vi+ii4pp. 

68 


Shakespeare  and  Precious  Stones 

prised  the  principal  editions  of  the  poet's  plays, 
from  the  First  Folio  of  1623  to  the  great  Vario- 
rum Edition  by  Dr.  Fumess,  begun  in  1871. 

For  the  Tercentenary  of  Shakespeare's  birth, 
celebrated  in  April,  1864,  a  special  commemora- 
tive medal  was  struck  in  England,  designed  by 
Mr.  J.  Moore.  The  obverse  shows  a  profile  head 
of  the  poet,  in  the  modelling  of  which  the  artist 
seems  to  have  been  chiefly  influenced  by  the 
Stratford  bust.  This  fundamental  type  he  has 
not  unskilfully  combined  with  that  of  the  Droe- 
shout  print  in  the  First  Folio,  the  dome-like  fore- 
head being  evidently  suggested  by  the  latter. 
The  nose  is  more  accentuated  than  in  the  bust, 
and  the  mouth,  though  still  small,  is  somewhat 
firmer.  Toward  the  edge  of  the  field  are  dis- 
posed the  titles  of  his  various  works,  as  though 
radiating  from  the  head,  and  in  the  exergue  is 
his  signature,  framed  by  a  half-garland  over 
which  extends  a  mace.  The  tribute  offered  to 
Shakespeare  by  the  Muses,  figured  on  the 
reverse,  is  a  rather  stiff  and  conventional  compo- 
sition.29 

^  W.  Sharp  Ogden,  "Shakspere's  Portraits:  painted, 
graven,  and  medallic,"  in  The  British  Numismatic  Journal, 
and  Proceedings  of  The  British  Numismatic  Society,  1910, 
London,  1911,  pp.  143-198;  see  p.  189. 

69 


Shakespeare  and  Precious  Stones 

For  those  who  may  wish  to  see  the  original 
form  of  the  passages  regarding  precious  stones  in 
the  text  of  the  First  Folio,  of  1623,  the  page  and 
column  references  have  been  given  here.  In 
this  text  the  three  sections  into  which  the  plays 
have  been  divided,  Comedies,  Histories,  and 
Tragedies,  are  separately  paged;  moreover,  the 
pagination  offers  a  number  of  irregularities. 
Troilus  and  Cressida,  added  at  the  end  of  the 
"Histories,"  has  page  numbers  on  a  couple  of 
leaves  neither  connected  with  what  precedes  nor 
with  what  follows,  the  remainder  of  the  pages 
bearing  no  figures;  furthermore,  there  are  several 
obvious,  though  unimportant,  misprints.  Peri- 
cles, first  issued  in  Folio,  in  the  Third  Folio,  of 
1664,  is  therein  separately  paged,  as  are  the 
other  of  the  plays  attributed  to  Shakespeare 
printed  therein,  in  continuation  of  the  series  of 
the  First  and  Second  Folios.  This  play  had, 
however,  previously  appeared  six  times  in 
quarto  in  the  years  1609,  161 1,  1619,  1630,  1635 
and  1639. 


PRECIOUS  STONES  MENTIONED  IN 
THE  PLAYS  OF  SHAKESPEARE 


PRECIOUS  STONES  MENTIONED  IN  THE 
PLAYS  OF  SHAKESPEARE 

DIAMOND 

I  see  how  thine  eye  would  emulate  the  diamond. 

Merry  Wives  of  Windsor,  Act  iii,  sc.  3,  1.  59. 
"Comedies,"  p.  58  [50],  col.  A,  line  31. 

DIAMOND 

Give  me  the  ring  of  mine  you  had  at  dinner, 
Or,  for  my  diamond,  the  chain  you  promised. 

Comedy  of  Errors,  Act  iv,  sc,  3.  1.  70. 
"Comedies,"  p.  94,  col.  B,  lines  61,  62. 

DIAMOND 

Sir,  I  must  have  that  diamond  from  you. — 
There,  take  it. 

Comedy  of  Errors,  Act  v,  sc.  i,  1.  391. 
"Comedies,"  p.  99,  col.  B,  line  58. 

DIAMOND 

A  lady  walled  about  with  diamonds! 

Lovers  Labour's  Lost,  Act  v,  sc.  2,  1.  3. 
"Comedies,"  p.  137,  col.  A,  line  6. 

DIAMOND 

A   diamond   gone,   cost    me    two    thousand   ducats     in 
Frankfort! 

Merchant  of  Venice,  Act  iii,  sc.  i,  1.  87. 
"Comedies,"  p.  173,  col.  A,  line  62. 
73 


Shakespeare  and  Precious  Stones 

DIAMOND 

Set  this  diamond  safe 
In  golden  palaces,  as  it  becomes. 

Henry  VI,  Pt.  1,  Act  v,  sc.  3,  1.  169. 
"Histories,"  p.  116,  col.  B,  line  54. 

DIAMOND 

A  heart  it  was,  bound  in  with  diamonds. 

Henry  FI,  Pt.  II,  Act  iii,  sc.  2,  1.  107. 
"Histories,"  p.  134,  col.  A,  line  46. 

DIAMOND 

Not  deck'd  with  diamonds  and  Indian  stones, 
Nor  to  be  seen. 

Henry  FI,  Pt.  Ill,  Act  iii,  sc.  i,  1.  63. 
"Histories,"  p.  158,  col.  B,  line  25. 

DIAMOND 

One  day  he  gives  us  diamonds,  next  day  stones. 

Timon  of  Athens,  Act  iii,  sc.  6,  1,  131. 
"Tragedies,"  p.  89,  col.  B,  line  56. 

DIAMOND 

This  diamond  he  greets  your  wife  withal. 

Macbeth,  Act  ii,  sc.  i,  1. 15. 
"Tragedies,"  p.  136,  col.  A,  line  11. 

DIAMOND 

Which  parted  thence. 
As  pearls  from  diamonds  dropp'd. 

King  Lear,  Act  iv,  sc.  3,  1.  24. 
Omitted  in  First  Folio. 
74 


Precious  Stones  Mentioned  in  Plays 

DIAMOND 

This  diamond  was  my  mother's;  take  it,  heart; 
But  keep  it  till  you  woo  another  wife. 

Cymbeline,  Act  i,  sc.  i,  1.  Ii2. 
"Tragedies,"  p.  370,  col.  A,  line  45. 

DIAMOND 

She  went  before  others  I  have  seen,  as  that  diamond  of 
yours  outlustres  many  I  have  beheld. 

Cymbeline,  Act  i,  sc.  4,  1.  78. 
"Tragedies,"  p,  372,  col.  A,  line  53. 

DIAMOND 

I  have  not   seen  the  most  precious  diamond  that  is,  nor 
you  the  lady. 

Cymbeline,  Act  i,  sc.  4, 1.  81. 
"Tragedies,"  p.  372,  col.  A,  line  55. 

DIAMOND 

I  shall  but  lend  my  diamond  till  your  return. 

Cymbeline,  Act.  i,  sc.  4,  1.  153. 
"Tragedies,"  p.  372,  col.  B,  line  59. 

DIAMOND 

My  ten  thousand  ducats  are  yours;  so  is  your  diamond  too. 

Cymbeline,  Act  i,  sc.  4,  1.  163. 
"Tragedies,"  p.  373,  col.  A,  line  i. 

DIAMOND 

It  must  be  married 
To  that  your  diamond. 

Cymbeline,  Act  ii,  sc.  4,  1.  98. 
"Tragedies,"  p.  389  [379]  ,  col.  A,  lines  42,  43. 
75 


Shakespeare  and  Precious  Stones 

DIAMOND 

That  diamond  upon  your  finger,  say, 
How  came  it  yours? 

Cynibeline,  Act  v,  sc.  5,  1.  137. 
"Tragedies,"  p.  396,  col.  A,  line  51. 

DIAMOND 

To  me  he  seems  like  diamond  to  glass. 

Pericles,  Act  ii,  sc.  3,  1,  36. 
Third  Folio,  1664,  p.  7,  col.  B,  line  38; 

separate  pagination. 

DIAMOND 
You  shall,  like  diamonds,  sit  about  his  crown. 

Pericles,  Act  ii,  sc.  4,  1.  53. 
Third  Folio,  1664,  p.  8,  col.  B,  line  42. 

DIAMOND 

The  diamonds  of  a  most  praised  water 
Do  appear,  to  make  the  world  twice  rich. 

Pericles,  Act  iii,  sc.  2, 1.  102. 
Third  Folio,  1664,  p.  11,  col.  B,  line  13. 

RUBY 

The  impression  of  keen  whips  I'ld  wear  as  rubies. 

Measure  for  Measure,  Act  ii,  sc.  4,  1.  loi. 

"Comedies,"  p.  69,  col.  B,  line  63. 

RUBY 

Her    nose,  all    o'er    embellished    with  rubies,   carbuncles, 
sapphires. 

Comedy  of  Errors,  Act  iii,  sc.  2,  1.  138. 
"Comedies,"  p.  92,  col.  A,  line  49. 
76 


Precious  Stones  Mentioned  in  Plays 

RUBY 

Those  be  rubles,  fairy  favors. 
Midsummer  Night's  Dream,  Act  ii,  sc.  i,  1.  I2. 
"Comedies,"  p.  148,  col.  A,  line  35. 

RUBY 
Over  thy  wounds  now  do  I  prophesy, — 
Which,  like  dumb  mouths,  do  ope  their  ruby  lips. 
Julius  Casar,  Act  iii,  sc.i,  1.  260. 
"Tragedies,"  p.  120,  col,  B,  lines  34,  35. 

RUBY 
And  keep  the  natural  ruby  of  your  cheeks, 
When  mine  is  blanch'd  with  fear. 

Macbeth,  Act  iii,  sc.  4,  1.  115. 
"Tragedies,"  p.  142,  col.  B,  line  17. 

RUBY 

But  kiss;  one  kiss!     Rubies  unparagon'd. 
How  dearly  they  do't! 

Cymbeline,  Act  ii,  sc.  2,  1.  17. 
"Tragedies,"  p.  376,  col.  B,  line  18. 

SAPPHIRE 
Like  sapphire,  pearl  and  rich  embroidery. 

Merry  Wives  of  Windsor,  Act  v,  sc.  5,  I.  75. 
"Comedies,"  p.  51,  col.  A,  line  66  (last). 

SAPPHIRE 
Her  nose,  all  o'er   embellished   with   rubies,   carbuncles, 
sapphires. 

Comedy  of  Errors,  Act  iii,  sc.  2,  1.  138. 
"Comedies,"  p.  92,  col.  A,  line  49. 
77 


Shakespeare  and  Precious  Stones 

CHRYSOLITE 

If  heaven  would  make  me  such  another  world 
Of  one  entire  and  perfect  chrysolite. 

Othello,  Act  V,  sc.  2,  1.  145. 
"Tragedies,"  p.  337,  col.  A,  line  5. 

TURQUOISE 

It  was  my  turquoise;  I  had  it  of  Leah  when  I  was  a 
bachelor. 

Merchant  of  Venice,  Act  iii,  sc.  i,  1.  126. 
"Comedies,"  p.  173,  col.  B,  line  32. 

OPAL 

For  thy  mind  is  a  very  opal. 

Twelfth  Night,  Act  ii,  sc.  4,  1.  JJ. 
"Comedies,"  p.  262,  col.  B,  line  45. 

AGATE  (CAMEO) 

An  agate  very  vilely  cut. 
Much  Ado  About  Nothing,  Act  iii,  sc.  i,  1.  65. 
"Comedies,"  p.  no,  col.  A,  line  25. 

AGATE  (CAMEO) 

His  heart  like  an  agate  with  your  print  impress'd. 

Love's  Labour's  Lost,  Act  ii,  sc.  i,  1.  236. 

"Comedies,"  p.  127,  col.  B,  line  62  (last). 

AGATE  (CAMEO) 

I  was  never  manned  with  an  agate  till  now. 

//  Henry  IV,  Act  i,  sc.  2,  1.  19. 
"Histories,"  p.  76,  col.  B,  line  10. 
78 


Precious  Stones  Mentioned  in  Plays 

AGATE  (CAMEO) 

Agate-ring,  pirke-stocking,  caddis-garter,  smooth-tongue. 

/  Heyiry  IV,  Act  ii,  sc.  4,  1.  78. 
^"Histories,"  p.  56,  col.  A,  line  53. 

AGATE  (CAMEO) 

In  shape  no  bigger  than  an  agate-stone 
On  the  forefinger  of  an  alderman. 

Romeo  and  Juliet,  Act  i,  sc.  4,  I.  55. 
"Tragedies,"  p.  57,  col.  A,  lines  20,  21. 

AMBER 

Her  amber  hair  for  foul  hath  amber  quoted. 

Lovers  Labour's  Lost,  Act  iv,  sc.  3,  1.  87. 
"Comedies,"  p.  133,  col.  A,  line  52. 

AMBER 

With  amber  bracelets,  beads,  and  all  this  knavery. 
Taming  of  the  Shrew,  Act  iv,  sc.  3,  1.  58. 
"Comedies,"  p.  223,  col.  B,  line  62. 

AMBER 

Their  eyes  purging  thick  amber  and  plum-tree  gum. 

Hamlet,  Act  ii,  sc.  2,  1.  201. 
"Tragedies,"  p.  261,  col.  B,  line  42. 

CORAL 

Of  his  bones  are  coral  made. 

The  Tempest,  Act  i,  sc.  2,  1.  397. 
"Comedies,"  p.  5,  col.  A,  line  54. 
79 


Shakespeare  and  Precious  Stones 

CORAL 
I  saw  her  coral  lips  to  move. 

Taming  oj  the  Shrew,  Act  i,  so.  i,  1.  179. 
"Comedies,"  p.  211,  col.  B,  line  57. 

JET 
There  is  more  difference  between  thy  flesh  and  hers  than 
between  jet  and  ivory. 

Merchant  of  Venice,  Act  iii,  sc.  i,  1.  42. 
"Comedies,"  p.  173,  col.  A,  line  18. 

JET 

What  color  is  my  gown  of.'' — Black,  forsooth:    coal-black 
as  jet. 

//  Henry  VI,  Act  ii,  sc.i,  1.  112. 
"Histories,"  p.  126,  col.  B,  line  61. 

JET 

Two  proper  palfreys,  black  as  jet, 

To  hale  thy  vengeful  waggon  swift  away. 

Titus  Andronicus,  Act  v,  sc.  2,  1.  50. 
"Tragedies,"  p.  49,  col.  B,  line  7 

CARBUNCLE 

Her  nose,   all  o'er   embellished  with  rubies,   carbuncles, 
sapphires. 

Comedy  of  Errors,  Act  iii,  sc.  2,  1.  138. 
"Comedies,"  p.  92,  col.  A,  line  49. 

CARBUNCLE 
A  carbuncle  entire,  as  big  as  thou  art, 
Were  not  so  rich  a  jewel. 

Coriolanus,  Act  i,  sc.  4,  I.  55. 
'Tragedies,"  p.  5,  col.  B,  line  7. 
80 


Precious  Stones  Mentioned  in  Plays 

CARBUNCLES 
O'er  sized  with  coagulate  gore, 
With  eyes  like  carbuncles. 

Hamlet,  Act  ii,  sc.  ii,  I.  485. 

"Tragedies,"  p.  263,  col.  B,  line  50. 

CARBUNCLE 

Were  it  carbuncled 
Like  holy  Phoebus'  car. 

Antony  and  Cleopatra,  Act  iv,  sc.8,  1.  28. 
"Tragedies,"  p.  360,  col.  B,  line  57. 

CARBUNCLE 

Had  it  been  a  carbuncle 
Of  Phcebus'  wheel. 

Cymbeline,  Act  v,  sc.  5,  1.  189. 
"Tragedies,"  p.  396,  col.  B,  line  41. 

EMERALD 

In  emerald  tufts,  flowers  purple,  blue,  and  white. 

Merry  Wives  of  Windsor,  Act  v,  sc.  5,  1.  74, 
"Comedies,  p.  51,  col.  A,  line  65. 

PEARLS 

Full  fathom  five  thy  father  lies; 
Of  his  bones  are  coral  made; 
Those  are  pearls  that  were  his  eyes. 

Tempest,  Act  i,  sc.  2,  1.  398. 
"Comedies,"  p.  5,  col.  A,  lines  51-53. 

PEARLS 

She  is  mme  own, 
And  I  as  rich  in  having  such  a  jewel 
As  twenty  seas,  if  all  their  sand  were  pearl. 

Two  Gentlemen  of  Verona,  Act  ii,  sc.  4,  1.  170. 
"Comedies,"  p.  26,  col.  B,  lines  34-36. 
6  81 


Shakespeare  and  Precious  Stones 

PEARLS 
A  sea  of  melting  pearl,  which  some  call  tears. 
Two  Gentlemen  of  Verona,  Act  iii,  sc.  i,  1.  224. 
"Comedies,"  p.  30,  col.  B,  line  2. 

PEARLS 

But  pearls  are  fair;  and  the  old  saying  is, 
Black  men  are  pearls  in  beauteous  ladies'  eyes 
'Tis  true;  such  pearls  as  put  out  ladies'  eyes. 
Two  Gentlemen  of  Verona,  Act  v,  sc.  2,  1.  11. 
"Comedies,"  p.  36,  col.  B,  lines  10-12. 

PEARLS 

Like  sapphire,  pearl  and  rich  embroidery 
Buckled  below  fair  knighthood's  bending  knee. 
Merry  Wives  of  Windsor,  Act  v,  sc.  5,  1.  75. 
"Comedies,"  p.  51,  col.  A,  lines  65,  66  (last). 

PEARLS 

Laced  with  silver,  set  with  pearls. 
Much  Ado  About  Nothing,  Act  iii,  sc.  4,  1.  20. 
"Comedies,"  p.  112,  col.  B,  line  65. 

PEARLS 
Fire  enough  for  a  flint,  pearl  enough  for  a  swine. 

Lovers  Labour'' s  Lost,  Act  iv,  sc.  2,  1.  91. 
"Comedies,"  p.  132,  col.  A,  line  11. 

PEARLS 
This  and  these  pearls  to  me  sent  Longaville. 

Lovers  Labour'' s  Lost,  Act  v,  sc.  2,  1.  53. 
"Comedies,"  p.  137,  col.  A,  line  59. 
82 


Precious  Stones  Mentioned  in  Plays 

PEARLS 

Will  you  have  me,  or  your  pearl  again? 
Neither  of  either. 

Lovers  Labour's  Lost,  Act  v,  sc.  2,  1,  458. 
"Comedies,"  p.  140,  col.  B,  line  58. 

PEARLS 

Decking  with  liquid  pearl  the  bladed  grass. 
Midsummer  Night's  Dreavi,  Act  i,  sc.  i,  1.  211. 
"Comedies,"  p.  147,  col.  A,  line  6. 

PEARLS 
I  must  go  seek  some  dewdrops  here 
And  hang  a  pearl  in  every  cowslip's  ear. 
Midsummer  Night's  Dream,  Act  ii,  sc.  i,  1.  15. 
"Comedies,"  p.  148,  col.  A,  line  38. 

PEARLS 

That  same  dew,  which  sometime  on  the  buds 
Was  wont  to  swell  like  round  and  orient  pearls. 
Midsummer  Night's  Dream,  Act  iv,  sc.  i,  1.  57. 
"Comedies,"  p.  157,  col.  B,  lines  9,  10. 

PEARLS 
Rich  honesty  dwells  like  a  miser,  sir,  in  a  poor  house;  as 
your  pearl  in  your  foul  oyster. 

As  You  Like  It,  Act  v,  sc.  4,  1.  63. 
"Comedies,"  p.  206,  col.  A,  line  12. 

PEARLS 
Their  harness  studded  all  with  gold  and  pearl. 

Taming  of  the  Shrezv,  Introd.,  sc.  2,  1.  44. 
"Comedies,"  p.  209,  col.  B,  line  33. 
83 


Shakespeare  and  Precious  Stones 

PEARLS 
Fine  linen,  Turkey  cushions  boss'd  with  pearls 
Valance  of  Venice  gold. 

Taming  of  the  Shrew,  Act  ii,  sc.  i,  1.  355. 
"Comedies,"  p.  217,  col.  B,  line  32. 

PEARLS 

Why,  sir,  what  'cerns  it  you  if  I  wear  pearl  and  gold.? 
Taming  of  the  Shrew,  Act  v,  sc.  i,  1.  yj. 
"Comedies,"  p.  227,  col.  A,  line  22. 

PEARLS 
This  pearl  she  gave  me,  I  do  feel't  and  see't. 

Twelfth  Night,  Act  iv,  sc.  3,  1.  2. 
"Comedies,"  p.  271,  col.  B,  line  61. 

PEARLS 
Draws  those  heaven-moving  pearls  from  his  poor  eyes. 
King  John,  Act  ii,  sc.  i,  1.  169. 
"Histories,"  p.  4,  col.  B,  line  55. 

PEARLS 

Our  chains  and  our  jewels. — 
Your  brooches,  pearls  and  ouches. 

//  Henry  IV,  Act  ii,  sc.  4,  1.  53. 
"Histories,"  p.  82,  col.  B,  line  28. 

PEARLS 

The  crown  imperial, 
The  intertissued  robe  of  gold  and  pearl. 

Henry  V,  Act  iv,  sc.  i,  1.  279. 
"Histories,"  p.   85  (bis,    number  repeated),    col.   B, 

line  13. 
84 


Precious  Stones  Mentioned  in  Plays 

PEARLS 

Wedges  of  gold,  great   anchors,  heaps   of  pearl, 
Inestimable  stones,  unvalued  jewels. 

Richard  III,  Act  i,  sc.  4,  1.  26. 
"Histories,"  p.  180,  col.  A,  line  12. 

PEARLS 

The  liquid  drops  of  tears  that  you  have  shed 
Shall  come  again,  transform'd  to  orient  pearl. 

Richard  III,  Act  iv,  sc.  4,  1.  322. 
"Histories,"  p.  198,  col.  A,  lines  16,  17. 

PEARLS 
Her  bed  is  India;  there  she  lies,  a  pearl. 

Troilus  and  Cressida,  Act  i,  sc.  i,  1.  103. 

At  end  of  "Histories,"  page  irregularly  numbered  79, 

col.  A,  line  8.     P.  589  of  facsimile. 

PEARLS 

She  is  a  pearl 
Whose  price  hath  launch'd  above  a  thousand  ships. 
Troilus  and  Cressida,  Act  ii,  sc.  2,  1.  81. 
Unnumbered  page,  596  of  facsimile,  col.  A,  line  19. 

PEARLS 
I  will  be  bright,  and  shine  in  pearl  and  gold. 

Titus  Ayidronicus,  Act  ii,  sc.  i,  1.  19. 
"Tragedies,"  p.  35,  col.  B,  line  30. 

PEARLS 

This  is  the  pearl  that  pleased  your  empress'  eye. 

Tittis  Andronicus,  Act  v,  sc.  i,  1.  42. 
"Tragedies,"  p.  48,  col.  A,  line  21. 
85 


Shakespeare  and  Precious  Stones 

PEARLS 
I  see  thee  compass'd  with  thy  kingdom's  pearl. 

Macbeth,  Act  v,  sc.  8,  1.  56. 
"Tragedies,"  p.  151,  col.  B,  line  32. 

PEARLS 

Hamlet,  this  pearl  is  thine. 

Hamlet,  Act  v,  sc.  2,  1.  293. 
"Tragedies,"  p.  281,  col.  A,  line  15. 

PEARLS 

What  guests  were  in  her  eyes ;  which  parted  thence, 
As  pearls  from  diamonds  dropp'd. 

Lear,  Act  iv,  sc.  3,  1.  24. 
Omitted  in  First  Folio. 

PEARLS 

Like  the  base  Indian,*  threw  a  pearl  away 
Richer  than  all  his  tribe. 

Othello,  Act  V,  sc.  2,  1.  347. 
"Tragedies,"  p.  338,  col.  B,  line  53. 

PEARLS 
He  kiss'd,  — the  last  of  many  doubled  kisses, — 
This  orient  pearl. 

Antony  and  Cleopatra,  Act  i,  sc.  5,  1.  4I. 

"Tragedies,"  p.  344,  col.  B,  lines  22,  23. 

PEARLS 
I'll  set  thee  in  a  shower  of  gold,  and  hail 
Rich  pearls  upon  thee. 

Antony  and  Cleopatra,  Act  ii,  sc.  5,  1.  46. 

"Tragedies,"  p.  348,  col.  B,  lines  10,  ii. 


•"ludean"  in  text. 

86 


Precious  Stones  Mentioned  in  Plays 

ROCK-CRYSTAL 

His  mistress 
Did  hold  his  eyes  lock'd  in  her  crystal  looks. 

Two  Gentlemen  of  Verona,  Act  ii,  sc.  4,  1.  89. 
"Comedies,"  p.  26,  col.  A,  line  17. 

ROCK-CRYSTAL 

Methough  all  his  senses  were  lock'd   in   his  eye 
As  jewels  in  crystal  for  some  prince  to  buy. 

Lovers  Labour'' s  Lost,  Act  ii,  sc.  i,  1.  243. 
"Comedies,"  p.  128,  col.  A,  lines  6,  7. 

ROCK-CRYSTAL 

One,  her  hairs  were  gold,  crystal  the  other's  eyes. 

Idem,  Act  iv,  sc.  3,  1.  142. 
"Comedies,"  p.  133,  line  46. 

ROCK-CRYSTAL 

To  what,  my  love,  shall  I  compare  thine  eye? 
Crystal  is  muddy. 
Midsummer  Night's  Dream,  Act  iii,  sc.  2,  1.  139. 
"Comedies,"  p.  154,  col.  A,  line  54. 

ROCK-CRYSTAL 

With  these  crystal  beads  heaven  shall  be  bribed 
To  do  him  justice. 

King  John,  Act  ii,  sc.  i,  1.  171. 
"Histories,"  p.  4,  col.  B,  lines  57,  58. 

ROCK-CRYSTAL 

The  more  fair  and  crystal  is  the  sky. 
The  uglier  seem  the  clouds  that  in  it  fly. 

Richard  II,  Act  i,  sc.  i,  1.  41. 
"Histories,"  p.  23,  col.  A,  line  41  (last). 
87 


Shakespeare  and  Precious  Stones 

ROCK-CRYSTAL 

Go,  clear  thy  crystals. 

Henry  F,  Act  ii,  sc.  3,  1.  56. 
"Histories,"  p.  75,  col.  B,  line  65. 

ROCK-CRYSTAL 

Comets,  importing  change  of  times  and  states, 
Brandish  your  crystal  tresses  in  the  sky. 

/  Henry  FI,  Act  i,  sc.  i,  1.  3. 
"Histories,"  p.  96,  col.  A,  lines  2,  3. 

ROCK-CRYSTAL 

But  in  that  crystal  scales  let  there  be  weigh'd 
Your  lady's  love  against  some  other  maid. 

Romeo  and  Juliet,  Act  i,  sc.  2,  1.  loi. 
"Tragedies,"  p.  55,  col.  B,  lines  51,  52. 

ROCK-CRYSTAL 

Thy  crystal  window  ope;  look  out. 

Cymbeline,  Act  v,  sc.  4,  1.  81. 
"Tragedies,"  p.  394,  col.  A,  line  12. 


88 


Precious  Stones  Mentioned  in  Plays 

The  following  table  is  arranged  according  to 
the  frequency  of  precious  stone  mentions. 
The  plays  rank  as  follows: 

First*      Prob- 

Pub-         ably 

lished     Written 

1623.  1609.  Cymbeline 10  (diamond    7,    ruby    i, 

carbuncle     i,    rock- 
crystal  i). 

1598.  1591.  Love^ s  Labour'' s  Lost '^  (pearl  3,  rock-crystal  2, 

diamond  i,  amber  i, 
agate  i). 

1600.   1597.  Merry       Wives      of 

Windsor 5  (pearl    i,    diamond    2, 

emerald   i,  sapphire 

I). 
1623.   1591.  Comedy  of  Errors ...  ^  (diamond    2,    ruby    i, 

sapphire  I, carbuncle  i). 
1600.  1595.  Midsummer  Night's 

Dream 5  (pearl  3,  ruby  i,  rock- 
crystal  i). 
1623.  1596.   Taming  of  the  Shrew  5  (pearl  3,  amber  i,  coral 

I). 
1623.  1591.  Two    Gentlemen    of 

Verona 4  (pearl    3,    rock-crystal 

I). 

1594.  1593.  Titus  Andronicus .. .'},   (pearl  2,  jet  i). 

1603.   1602.  Hamlet 3   (pearl,      amber,      car- 
buncle). 

1623.  1606.  Macbeth 3   (diamond,  ruby,  pearl). 

1609.  1607.  Pericles 3   (all  diamond). 

*Data  of  first  publication  contributed  by  Miss  Henri- 
etta C.  Bartlett. 


Shakespeare  and  Precious  Stones 


First 

Prob- 

Pub- 

ably 

lished 

Written 

1623. 

1608. 

Antony    and    Cleo- 

patra   3 

(pearl  2,  carbuncle  i) 

1597. 

1591- 

Romeo  and  Juliet ...  2 

(rock-crystal,  agate). 

1623. 

1592. 

/  Henry  VI 2 

(diamond     and     rock- 
crystal). 

1623. 

1592. 

II  Henry  VI 2 

(diamond  and  jet). 

1597. 

1592- 

-3 .  Richard  III 2 

(both  pearl). 

1600. 

1594- 

Merchant  of  Venice .  2 

(turquoise,  jet). 

1623. 

1594- 

King  John 2 

(pearl,  rock-crystal). 

1623. 

1597. 

II  Henry  IV 2 

(pearl,  agate). 

1600. 

1598. 

Henry  V 2 

'pearl,  crystal). 

1600. 

1599- 

Much     Ado     About 

Nothing 2 

(pearl,  agate). 

1623. 

1599- 

Twelfth  Night 2 

(pearl,  opal). 

1609. 

1603. 

Troilus  and  Cressida  2 

[both  pearl). 

1622. 

1604. 

Othello 2 

'pearl,  chrysolite). 

1608. 

1606. 

Lear 2 

[pearl,  diamond). 

1623. 

1611. 

Tempest 2 

(pearl,  coral). 

1623. 

1592. 

III  Henry  VI i 

(diamond). 

1597- 

1593- 

Richard  II i 

[rock-crystal). 

1598. 

1597. 

/  Henry  IV I 

(agate). 

1623. 

1599- 

As  You  Like  7/ ....  i 

(pearl). 

1623. 

1601. 

Julius  Ccesar i 

(ruby). 

1623. 

1604. 

Measure  for  Measure  i 

(ruby). 

1623. 

1607. 

Timon  of  Athens .  .  .  i 

(diamond). 

1623. 

1608. 

Coriolanus i 

(carbuncle). 

PRECIOUS  STONES  MENTIONED  IN 
THE  POEMS  OF  SHAKESPEARE 


PRECIOUS  STONES  MENTIONED  IN  THE 
POEMS  OF  SHAKESPEARE. 

DIAMOND 

The  diamond — why  'twas  beautiful  and  hard. 

"Lover's  Complaint,"  I.  211. 

SAPPHIRE 

The  heaven-hued  sapphire  and  the  opal  blend 
With  objects  manifold. 

Idem,  1.  215. 

PEARLS 

Her  tears  began  to  turn  their  tide, 

Being  prison'd  in  her  eye  like  pearls  in  glass. 

"Venus  and  Adonis,"  1.  980. 
G,  verso,  1.  i,  2. 

PEARLS 

And  wiped  the  brinish  pearl  from  her  bright  eyes. 

"Lucrece,"  1.  1213. 
I  2,  1.  2. 

PEARLS 

Those  round  clear  pearls  of  his,  that  move  thy  pity, 
Are  balls  of  quenchless  fire  to  burn  thy  city. 

Idem,  1.  1553. 
L  2,  verso,  1.  6,  7. 

PEARLS 

Of  paled  pearls  and  rubies  red  as  blood. 

"Lover's  Complaint,"  1.  198. 
93 


Shakespeare  and  Precious  Stones 

PEARLS 

Ah!  but  those  tears  are  pearls  which  thy  love  sheds. 

Sonnet  XXXIV,  1.  13. 
C4,  1.  13. 

PEARLS 

Bright  orient  pearl,  alack,  too  timely  shaded! 

"Passionate  Pilgrim,"  1,  133. 
B  4,  1.  3. 

OPAL 

The  heaven-hued  sapphire  and  the  opal  blend 
With  objects  manifold. 

"Lover's  Complaint,"  1.  215. 

RUBY 
Once  more  the  ruby-colour'd  portal  open'd. 

"Venus  and  Adonis,"  1.  451. 
D  ii,  verso,  1.  i. 

RUBY 

Of  paled  pearls  and  rubies  red  as  blood, 

"Lover's  Complaint,"  1.  198. 

EMERALD 

The  deep-green  emerald,  in  whose  fresh  regard 
Weak  sights  their  sickly  radiance  do  amend. 

Idem,  1.  213. 

ROCK-CRYSTAL 

But  hers  through  which  the  crystal  tears  gave  light, 
Shone  like  the  moon  in  water  seen  by  night. 

"Venus  and  Adonis,"  1.  491. 
D  iii,  1.  16,  17. 
94 


Precious  Stones  Mentioned  in  Poems 

ROCK-CRYSTAL 

Nor  thy  soft  hands,  sweet  lips,  and  crystal  eyne. 

"Venus  and  Adonis,"  1.  633. 
Eii,  1.  15. 

ROCK-CRYSTAL 

The  crystal  tide  that  from  her  two  cheeks  fair 
In  the  sweet  channel  of  her  bosom  dropt. 

Idem,  1.  957. 

G,1.3,4. 

ROCK-CRYSTAL 
Her  eyes  seen  in  the  tears,  tears  in  her  eye; 
Both  crystals,  where  they  view'd  each  other's  sorrow. 

Idem,  1.  962,  963. 
G,  1.  8,  9. 

ROCK-CRYSTALS 
Through  crystal  walls  each  little  mote  will  peep. 

"Lucrece,"  1.  1251. 
I  2,  verso,  1.  19. 

ROCK-CRYSTAL 
A  closet  never  pierced  with  crystal  eyes. 

Sonnet  XLVI,  1.  6. 
D  2,  verso,  1.  6. 

ROCK-CRYSTAL 
Favours  from  a  maund^  she  drew 
Of  amber,  crystal,  and  of  beaded  jet. 

"Lover's  Complaint,"  1.  37. 

^  Basket,  or  hamper. 

95 


Shakespeare  and  Precious  Stones 

ROCK-CRYSTAL 

Who  glazed  with  crystal  gate  the  glowing  roses. 

"  Lover's  Complaint,"  1.  286. 

AMBER 
With  coral  clasps  and  amber  studs. 

"Passionate  Pilgrim,"  1.  366. 
D  4,  verso,  1.  2. 

AMBER 

Favours  from  a  maund  she  drew 
Of  amber,  crystal,  and  of  beaded  jet, 

"Lover's  Complaint,"  1.  37. 

JET 

as  above. 

CORAL 

That  sweet  coral  mouth 
Whose  precious  taste  her  thirsty  lips  well  knew. 

"Venus  and  Adonis,"  1.  542. 
D  iv,  1.  20,  21. 

CORAL 

Her  alabaster  skin. 
Her  coral  lips,  her  snow  white  dimpled  chin. 

"Lucrece,"  1.  420. 
D  3,  1.  7. 

CORAL 

Like  ivory  conduits  coral  cisterns  filling. 

Idevi,  1.  1234. 
I  2,  verso,  1.  2. 
96 


Precious  Stones  Mentioned  in  Poems 
CORAL 

Coral  is  far  more  red  than  her  lips*  red. 

Sonnet  CXXX,  1.  2. 
H  4,  I.  2. 

CORAL 

A  belt  of  straw  and  ivy  buds. 
With  coral  clasps  and  amber  studs. 

"Passionate  Pilgrim,"  1.  366. 
D  4,  verso,  1.  i,  2} 

While  it  cannot  be  regarded  as  certain  that 
whenever  Shakespeare  writes  of  jewels  or  of 
rings  he  means  those  in  which  precious  stones 
were  set,  several  of  the  passages  more  or  less 
clearly  indicate  this,  and  we  therefore  present 
here  the  more  characteristic  of  the  lines  in 
question : 

A  Death's  face  in  a  ring. 

Lovers  Labour's  Lost,  Act  v,  sc.  2,  1,  616. 
"Comedies,"  p.  142,  col.  A,  line  36. 
The  dearest  ring  in  Venice  will  I  give  you. 

Merchant  of  Venice,  Act  iv,  sc.  i,  1.  435. 
"Comedies,"  p.  181,  col.  B,  line  27. 

^  References  are  here  given  to  the  original  editions  of 
"Venus  and  Adonis,"  1593  (unique  copy  in  the  Malone 
Collection  In  the  Bodleian  Library,  Oxford);  "Lucrece," 
1594;  "Passionate  Pilgrim,"  1599,  and  Sonnets,  1609.  As 
there  is  no  continuous  pagination,  the  letters  and  numbers 
refer  to  the  page  signatures  and  to  the  line  of  the  page. 

97 


Shakespeare  and  Precious  Stones 

Diana.  O  behold  this  ring 

Whose  high  respect  and  rich  validity- 
Did  lack  a  parallel;  yet  for  all  that 
He  gave  it  to  a  commoner  of  the  camp, 
If  I  be  one. 

Count.  He  blushes,  and  'tis  it: 

Of  six  preceding  ancestors,  that  gem, 
Conferr'd  by  testament  to  the  sequent  issue, 
Hath  it  been  owned  and  worn. 

AWs  Well  That  Ends  Well,  Act  v,  sc.  3,  I.  191-198. 
"Comedies,"  p.  253,  col.  A,  lines  1-8. 

My  daughter!  O  my  ducats  1  O  my  daughter! 
Fled  with  a  Christian!  O  my  Christian  ducats! 
Justice!  the  law!   my  ducats  and  my  daughter! 
A  sealed  bag,  two  sealed  bags  of  ducats. 
Of  double  ducats,  stolen  from  me  by  my  daughter! 
And  jewels,  two  stones,  two  rich  and  precious  stones, 
Stolen  by  my  daughter!  Justice!  find  the  girl; 
She  hath  the  stones  upon  her,  and  the  ducats. 

Merchant  of  Venice,  Act  ii,  sc.  8,  1.  15-22. 
"Comedies,"  p.  171,  col.  B,  lines  23-30. 

I  woula  my  daughter  were  dead  at  my  foot,  and  the 
jewels  in  her  ear! 

Merchant  oj  Venice,  Act  iii,  sc.  i,  1.  92. 
"Comedies,"  p.  173,  col.  B,  lines  i,  2. 

Sweet  are  the  uses  of  adversity. 

Which,  like  the  toad,  ugly  and  venomous. 

Wears  yet  a  precious  jewel  in  his  head. 

As  You  Like  It,  Act  ii,  sc.  i,  1.  13-15. 
"Comedies,"  p.  190,  col.  A,  lines  ia-12. 
98 


Precious  Stones  Mentioned  in  Poems 

Win  her  with  gifts,  if  she  respect  not  words: 
Dumb  jewels  often  in  their  silent  kind 
rvlore  than  quick  words  do  move  a  woman's  mind. 
Two  Gentlemen  of  Ferona,  Act  iii,  sc.  i,  1.  89-91. 
"Comedies,"  p.  29,  col.  A,  lines  63-65. 

I  frown  the  while;  and  perchance  wind  up  my  watch, 
or  play  with  my  —  some  rich  jewel. 

Twelfth  Night,  Act  ii,  sc.  5,  1.  64-66. 
"Comedies,"  p.  263,  col.  B,  lines  32,  33. 

A  jewel  in  a  ten-times-barr'd-up  chest 
Is  a  bold  spirit  in  a  loyal  breast. 

King  Richard  II,  Act  i,  sc.  i,  1.  180,  181. 
"Histories,"  p.  24,  col.  B,  lines  28,  29. 

This  royal  throne  of  Kings,  this  scepter'd  isle, 
This  earth  of  majesty,  this  seat  of  Mars, 
This  other  Eden,  demi-paradise. 
This  fortress  built  by  Nature  for  herself 
Against  infection  and  the  hand  of  war. 
This  happy  breed  of  men,  this  little  world, 
This  precious  stone  set  in  the  silver  sea, 
Which  serves  it  in  the  office  of  a  wall 
Or  as  a  moat  defensive  to  a  house. 
Against  the  envy  of  less  happier  lands, 
This  blessed  plot,  this  earth,  this  realm,  this  England. 
King  Richard  II,  Act  ii,  sc.  i,  1.  40-46. 
"Histories,"  p.  28,  col.  B,  lines  17-23. 

In  argument  and  proof  of  which  contract. 
Bear  her  this  jewel,  pledge  of  my  affection. 

/  Henry  VI,  Act  v,  sc.  2,  1.  46,  47. 
"Histories,"  p.  115,  col.  A,  lines  8,  9. 
99 


Shakespeare  and  Precious  Stones 

It  seems  she  hangs  upon  the  cheek  of  night, 
Like  a  rich  jewel  in  an  Ethiop's  ear; 
Beauty  too  rich  for  use,  for  earth  too  dear. 

Romeo  and  Juliet,  Act  i,  sc.  5,  1.  47-49. 

"Tragedies,"  p.  57,  col.  B,  lines  59-61. 

But  chiefly  to  take  thence  from  her  dead  finger 
A  precious  ring,  a  ring  that  I  must  use 
In  dear  employment. 

Romeo  and  Juliet,  Act  v,  sc.  3,  1.  30-32. 

"Tragedies,"  p.  75,  col.  A,  lines  34-36. 

A  Striking  proof  that  Shakespeare  had  no  fear 
of  tautology  when  he  wished  to  strengthen  the 
impression  of  a  word  by  constant  reiteration  is 
given  in  the  Merchant  of  Venice  (Act  v,  sc.  2), 
whence  we  have  already  quoted  a  few  lines.  The 
passage  concerns  the  disposal  by  Bassanio  of  a 
ring  he  had  received  from  Portia,  and  he  an- 
swers her  thus  in  the  First  Folio  text:^ 

Bassanio.  Sweet  Portia, 

If  you  did  know  to  whom  I  gave  the  Ring, 
If  you  did  know  for  whom  I  gave  the  Ring, 
And  would  conceive  for  what  I  gave  the  Ring, 
And  how  unwillingly  I  left  the  Ring, 
When  naught  would  be  accepted  but  the  Ring, 
You  would  abate  the  strength  of  your  displeasure. 

'  First  Folio,  "Comedies,"  p.  183,  col.  B,  lines  36-46. 

100 


Precious  Stones  Mentioned  in  Poems 

Portia. 

If  you  had  knowne  the  virtue  of  the  Ring, 
Or  halfe  her  worthinesse  that  gave  the  Ring, 
Or  your  owne  honour  to  containe  the  Ring, 
You  would  not  then  have  parted  with  the  Ring. 

It  was  probably  more  than  a  coincidence  that 
Shakespeare's  first  printed  book,  "Venus  and 
Adonis,"  was  published,  in  1593,  by  a  fellow- 
townsman,  Richard  Field,  who  had  come  up  to 
London  from  Stratford  when  a  mere  boy.  Un- 
doubtedly, when  Shakespeare  met  him  in  the 
bustle  of  city  life,  the  common  memories  of  their 
quieter  native  town  served  at  once  as  an  intro- 
duction and  as  a  link  between  them.  Field  also 
published  Shakespeare's  "Lucrece"  in  the  year 
1594.  He  had  been  a  freeman  of  the  Station- 
ers' Company  from  February  6,  1587,  and  died 
either  In  the  year  the  First  Folio  was  Issued,  or 
in  the  succeeding  year,  1624. 


Printer's  mark  of  Richard  Field,  as  shown  on  the  title-page  of  the  first 
edition  of  Shakespeare's  "  Venus  and  Adonis,"  1593,  the  unique  copy  of  which 
is  in  the  Bodleian  Library,  Oxford,  A  hand  emerging  from  a  cloud  upholds 
the  "Anchor  of  Hope,"  about  which  are  twined  two  laurel  branches. 


'^ND    TO    a,;;"      ''^'^TS  ON  THP-r"-^ 


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YD  03070 


